Visual Artists' News Sheet September - October 2006 by visualartists

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The Visual Artists’ News Sheet (VAN) is one of two periodicals published by Visual Artists Ireland. The Visual Artists’ News Sheet has been devised primarily as an information resource for artists in Ireland. It is published 6 times a year in a 36 page, colour/B+W, tabloid newspaper format. It is useful, practical and relevant, it is regularly produced and widely distributed, it draws on a diverse range of contributors and assumes a broad readership amongst visual artists. This publication is a valuable and much needed resource for all artists practising in Ireland. The News Sheet is available to pick up free of charge in galleries and arts centres. However, the most effective way to ensure that you receive the Visual Artists’ News Sheet both regularly and promptly is to become a member of Visual Artists Ireland. Membership is open to all artists and entitles you to an annual subscription to the Visual Artists’ News Sheet as well as a host of other benefits.

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									  Image, Eleanor Philips

Glendarragh Group Show                                                                                                                                                                   Sinéad Ní Mhaonaigh, Platform, oil on canvas, 61 X 81 cm, 2006
18 August – 16 September

Eleanor Phillips
                                                                                                                                                                           arts centre

22 September – 21 October

Sinéad Ni Mhaonaigh
27 October – 25 November
                                                                                                                              Main St, Bray, County Wicklow
                                                                                                                              T: 01 272 4030 W:

                                                                                                                                                                                                                                                                                                           News Sheet
                                                                                                                                                                                                                                                                                                                        The Visual Artists’
                                                                                                                                                                                                                                       Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire
                                                                                                                                                                                                                                       September – October
                                                                                                                                                                                                                                       ISSUE 5 2006
      Blaise Drummond A Little Romance. 2006. Oil & Collage on Canvas. 167.5 x 142 cm. Courtesy of Rubicon Gallery, Dublin.
2                                                                                                                                                   The Visual Artists’ News Sheet                       September / October 2006

INTRODUCTION                                                                                                    CONTENTS

Introduction                                                                                                    Contents
                                                                                                                3. Column. Ken McCue. Missing Continents.
WELCOME to another edition of the Visual Artists News Sheet.
                                                                                                                3. Roundup. Recent exhibitions and projects of note.
You will notice the advertisement below announcing that Visual Artists Ireland is about to move to a new        4. Column. Sarah Glennie. Building for the Future.
premises. We will be remaining on the north side, but as from 18 September we will be relocating from our       5. Column. Alan Phelan. Memory is more than an Index Card.
current base opposite the Dublin wholesale fruit market, to number 37 North Great Georges St. This is just
                                                                                                                5. Column. Una Walker. Mythical Beasts.
2 minutes from the Parnell Square end of O’Connell St; and close by to the Hugh Lane Gallery and O’Reilly
Theatre – and directly opposite the Cobalt Café. This is a convenient, central and accessible location and we   7. News. The latest developments in the arts sector.
will occupy the ground and first floor. The move will allow us slightly more space and will create a more       8. Focus: Live Art in Public Spaces. To Stand in Front of Other People. Aileen Lambert introduces some of
comfortable environment for staff and visitors. For several days either side of the move there will obviously        the principles and dilemmas underlying the presentation of live art in public spaces.
be some disruption. However, we hope to be able to resume a normal service as soon as possible and we
                                                                                                                9. Conference Report. Productive Anomalies. Jane Speller reports on the AICA organised seminar ‘From
would ask for your patience and co-operation if you have any difficulty getting in touch with us over the
moving period. We will maintain our current phone number.                                                            Art School to Professional Practice’ held at the National Gallery, Dublin in May.
                                                                                                                10. Research. Helping More People Know About the Arts. Jacqui McIntosh surveys media coverage of the
VAI in association with the National Sculpture Factory has just announced a new programme of                         visual arts in Ireland
professional development workshops for the autumn. A brochure is available outlining the programme
                                                                                                                11. Appreciation. Noel Sheridan. Brian Hand pays tribute to Noel Sheridan.
and details can also be found on our web site.
                                                                                                                13. Conference Report. Real Relationships. Sarah Browne reports on public conversation with Grant Kester.
Visual Artists Ireland has been supporting the delivery of OUT OF SITE, a series of site specific               14. Cultural Policy. Selling Creative Futures. VAI International Representative Mark Cullen reports on
performances taking place in September as part of the visual arts programme of Dublin Fringe Festival.               the ‘World Summit on Art and Culture’, held at The Sage, Gateshead.
OUT OF SITE will feature16 artists from Germany, Portugal, Finland, USA and Ireland and performances
                                                                                                                15. Organisation Profile. United in Art. Mary Caulfield profiles The United Arts Club in Dublin.
will take place in public spaces around Dublin City Centre. The project was initiated and has been
organised by artists Michelle Browne.                                                                           16. Conference Report. Knowledge, Power and Space. Susan Gogan reports on the Site-ations International
                                                                                                                     Conference 2006, Model Arts and Niland Gallery, Sligo (17 – 18 June).
VAI has over recent months started to commission a wide range of texts that will form part of a new web
                                                                                                                17. Career Development. Peaks and Troughs. Blaise Drummond considers the dynamics of his art career.
based information resource for artists called ‘info~pool’. It is intended that this web resource will be a
                                                                                                                18. Art in The Public Realm. Recent public art commissions, site-specific works, socially engaged practice
comprehensive information archive and act as a useful, practical and relevant tool to all artists. We are
aiming for an on line resource comparable to the likes of those sites operated by a-n The Artists                    and other forms of ‘art outside the gallery’.
Information Company (, Artquest ( or the Australian National                  19. The Domestic Goddless. Brain of Piglet in Barley Wine.
Association for the Visual Arts ( We hope to launch info~pool on line later this year.
                                                                                                                20. In the Studio. Claire Halpin and Damien Duffy discuss their studio facilites.
                                                                                                                22. Art in Rural Contexts. Making Art Porous. Djeribi and Dominic Stevens travelled from Leitrim to Clare
Finally, on page 11 you will find a tribute to professor Noel Sheridan who died recently. Noel had been a
significant figure in the arts in Ireland for many years and his presence will be missed by many.                    to report on a recent meeting of the Ground Up Artists’ Collective.
                                                                                                                25. Project Profile. Making Inroads. Kildare County Council Arts Officer, Lucina Russell and Artist, Sally
                                                                                                                     Timmons provide an overview of ‘Temporary Foray’ A series of talks and workshops held at Riverbank
                                                                                                                     Arts Centre, Newbridge, County Kildare (Feb – June 2006).
                                                                                                                26. Advocacy, Lobbying and Representation. Fees & Contracts. An update on these 2 key areas of VAI’s
                                                                                                                     current research.
                                                                                                                27. Regional Focus. Visual arts resources and activity in CountyLouth.

                             We are
                                                                                                                30. Opportunties. All the latest residencies, commissions, grants and calls for exhibition.

                                                                                                                Editor / Layout: Jason Oakley; News: Niamh Looney; Advertising Layout & Opportunities: Monica Flynn;

                                                                                                                Proofing: Anne Henrichson; Invoicing: Valerie Earley.
                                                                                                                Ken McCue, Sarah Glennie, Alan Phelan, Una Walker, Jane Speller, Jacqui McIntosh, Brian Hand, Sarah
                                                                                                                Browne, Mark Cullen, Mary Caulfield, Susan Gogan, Blaise Drummond, The Domestic Goddless, Claire
                                                                                                                Halpin, Damien Duffy, Djeribi &Dominic Stevens, Lucina Russell, Sally Timmons, Alex Davis, Toby
                                                                                                                Dennett, Nick Reilly, Anthony Collins, Sean Cotter, Sile O’Sullivan, Cliodhna Cunningham, Brian Harten,
                                                                                                                Marcella Bannon.
                                                                                                                Contact                                                         Northern Ireland Representive
                                                                                                                Visual Artists Ireland, Cnr Halston Street / Mary’s             Brian Connolly

    V             isual Artists Ireland is                                                                      Lane, Dublin 7. NB New address (from 18 Sept)                   E:
                                                                                                                37 North Great Georges Street, Dublin 1.                        Staff
                                                                                                                T: 353(0)1 872 2296 F: 353 (0)1 872 2364                        Director: Toby Dennett

                moving to new premises.                                                                         E:
                                                                                                                                                                                Publications Manager: Jason Oakley
                                                                                                                                                                                Membership Manager: Valerie Earley
                                                                                                                Board of Directors                                              Information/Research Officer: Niamh Looney

    From Monday 18                                                   September                                  Therry Rudin (Chair), Liam Sharkey (Vice Chair),
                                                                                                                Niall O’Neill, Anya von Gösseln, Maoiliosa
                                                                                                                                                                                Administrator: Monica Flynn
                                                                                                                                                                                Advocacy Programme Officer: Alex Davis
                                                                                                                Reynolds, Richard Guiney, Paula Duffy, Tim Lloyd,               Research Assistant: Tara Kennedy

    our address will be – 37 North                                                                              Brian Fay, Roger Bennett, Susan MacWilliam,
                                                                                                                Kevin O'Dwyer.                                                  THE VIEWS EXPRESSED IN THIS PUBLICATION,
                                                                                                                                                                                UNLESS OTHERWISE INDICATED, DO NOT

    Great George’s Street, Dublin 1.                                                                                                                                            NECESSARILY REFLECT THOSE OF THE EDITOR,
                                                                                                                                                                                EDITORIAL     PANEL      OR   VISUAL     ARTISTS
                                                                                                                                                                                IRELANDS’ BOARD OF DIRECTORS.

    Our telephone numbers and
    email contacts remain the same.                                                                             Visual Artists Ireland is the registered trading name of The
                                                                                                                Sculptors’ Society of Ireland. Registered Company No. 126424.
The Visual Artists’ News Sheet                         September / October 2006                                                                                                                                                                                   3

COLUMN                                                                                      ROUNDUP

                                                                                                                                                         Other visual arts highlights of the               exploring          elements            of     cultural
Ken McCue                                                                                                                                         festival     including     ‘Re-Production’          a    phenomena such as speaking in tongues
Missing Continents                                                                                                                                specially curated weekend art event (19 –                and reverie”. During the Birr Arts Festival
                                                              Man's portrait.                                                                     20     August)     featuring     performances,           in Co. Offally (12 13 August) Murnaghan
                                                                                           SQUARE ONE
                                                              Terra cotta. NOK period.                                                            installations, dancers, DJs and exhibitions              restaged his previously enacted project
                                                              Lagos Museum.
                                                              Photographer: Philip Gaunt                                                          by artists from Ireland and the UK                       Memorious whereby he used advertising
                                                              © UNESCO
                                                                                                                                                  including Clodagh Emoe, Pauline Rowan,                   space to offer for sale, part of his memory
                                                                                                                                                  Joanna Peacock and Vaginal Vinyl. At the                 capacity.
                                                                                                                                                  Maltings     building     members          of     the                           

                                                                                                                                                  Endangered Artists groups presented the
                                                                                                                                                  group show ‘From Here to There’. Works                   LONG HALL
                                                                                                                                                  by Alan Counihan were on show at The
TAXPAYERS recently moaning about the big grant presented to the ten theatre                                                                       Rudolf Hetzel Gallery
companies performing at this year’s Edinburgh Festival heard Doireann ni                                                                                                

Bhriain, a director of Culture Ireland explain on RTE’s Rattlebag that the funding         Richard Gillingam Burnside, Portland

was a cultural investment and that the Scottish capital was an important stage                                                                    OBSCURED BY ARCHITECTURE
for the Irish companies to show their work. Doireann, who knows that                       ‘Square One’ at Monstertruck Studios,
Edinburgh is an ideal ‘shop-window’ for theatre in the European arena,                     Dublin         (3 – 6 August) was group
defended the spending of resources with vigour.                                            exhibition featuring the work of over 20
     There is no doubt that the potential spin-off in terms of European receiving          established international artists who are
theatres hiring Irish companies is one of the motivating factors and therefore             involved         in   skate-boarding      –   from
justifies spending money to open up this market for Irish material.                        designing board graphics and clothing
     For many members of the general public this radio broadcast segment may               lines to photographing skating. As the
have been their first introduction to this new Government funding and                      press release stated “There is something
                                                                                           one-of-a-kind about the creative impulse               Niamh McCann
development agency.                                                                                                                                                                                        Patrick Hall WM in Stripe Vest

    Culture Ireland was established in 2005 with the brief of:                             and skateboarders. The two seem to go
                                                                                                                                                                                                           ‘Patrick Hall – 50 Years Painting’ at The
  Presenting and promoting work internationally.                                           together quite well, like sound waves and
                                                                                                                                                                                                           Model Arts and Niland Gallery (20 July –
  Developing new and diverse international audiences and markets.                          air. It must be the individualistic nature of
                                                                                                                                                                                                           10 September) was uniquely determined
  Participating in international network events.                                           both      skateboarding           and    creativity.
                                                                                                                                                                                                           by the views of another artist – Isabel
  Developing opportunities through workshops, exchanges/collaborations                     Although people can certainly be creative
                                                                                                                                                                                                           Nolan. Nolan is carefully described in the
  with international arts practitioners.                                                   when assembled into groups, it is usually
                                                                                                                                                                                                           press release as the show’s selector and
  Advising Government Departments on integration of cultural policies in                   the loner, hammering away in his garage
                                                                                                                                                                                                           not a “curator, writer or academic”. Her
  their international strategies.                                                          that brings about the sudden inspired                  Ben Geoghegan Munning (verso) 2006
                                                                                                                                                                                                           selection, developed through a number of
  Building relationships and networks abroad.                                              innovations. Most            sports     are   about    ‘Obscured by Architecture’ South Dublin
                                                                                                                                                                                                           discussions with Patrick Hall over the last
  Working with Department of Foreign Affairs, state agencies and government                winning, skateboarding is not and this                 County Hall, Tallaght, (15 July – 4 August)
                                                                                                                                                                                                           year. The end result is an exhibition that
  departments at home and abroad.                                                          exhibition is a celebration of this”.                  and Rathfarnham Castle, (15 – 22 July)
                                                                                                                                                                            does not present a ‘representative’ path
  Developing strengthened relations with Northern Ireland, England, Scotland                                                                      presented works by Chris Reid, Ben
                                                                                                                                                                                                           through Hall’s career, but instead
  and Wales.                                                                                                                                      Geoghegan, Aisling O Beirn, Amanda
                                                                                           KILKENNY ARTS FESTIVAL                                                                                          addresses attitude and intention over
     To date the agency has disbursed over €4 Million in grant aid to mainly                                                                      Dunsmore and Niamh McCann. Curated
                                                                                                                                                                                                           coherence and linearity.
Irish based companies and individuals working in the Arts and Cultural arenas.                                                                    by Michael Dempsey on behalf of The Art                                                 

Although the scope is global, one continent has been virtually ignored. The                                                                       Projects Network, the exhibition was
funding for projects in Africa to date has included; €1,400 to painter Brian                                                                      focused in issues relating to public spaces              CANDIDA HÖFER AT IMMA
Henderson for a solo show in South Africa, €15,000 to Elizabeth Healy for a                                                                       and the paradox of them being owned by
music project in Mali, €9,900 to Colm O Snodaigh for a music project in Tunisia,                                                                  all but occupied by no one. In response to
€3,000 to Cork Film Festival for a film showcase in Algeria and €1,000 to the                                                                     this starting point the works in the show
Irish Society of Tanzania for a St. Patrick’s Day Ball. The cultural investment in                                                                offered various analysis and observations
Africa totals €30,000 out of the €4,000,000.                                                                                                      on how the world is put together, along
     In order to correct this imbalance, a major overhaul in the way we see                                                                       with       imaginings      of        new        social
Africa must be effected. Primarily, we must get rid of the notion that Africa is                                                                  configurations.
there for charitable donations and bequests. We must realise that culture is the
first cousin of development and that the Millennium Development Goals must
                                                                                                                                                  PAUL MURNAGHAN
incorporate a strong cultural dimension. The Irish Government, alone has 28
Diplomatic Missions and Embassies in Africa. Our Civil Service Officials on this
continent must place culture higher up on their agendas. Dedicated officers,                                                                                                                               Candida Höfer, The Merrion Dublin II, 2004, 180 x 220 cm,
                                                                                                                                                                                                           C-print, Courtesy of the artist and VG Bild-Kunst Bonn 06
connected to Culture Ireland, must be appointed and mechanisms put in place                Nevan Lahart

to facilitate cultural exchange between African countries and Ireland. A                                                                                                                                   German artist Candida Höfer’s first solo
position similar to the strategy of the Danish Centre for Culture and                                                                                                                                      show in Ireland is currently on view at
Development can be adopted. This will involve the creation of a direct link                                                                                                                                IMMA         (12     July        –1    October). The
between cultural and development agencies in Ireland.                                                                                                                                                      exhibition features 11 works made while
     This can be achieved in a number of ways. Firstly, now that the Arts                                                                                                                                  visiting     Dublin         in     2004,    including
Council’s new Arts Strategy has finally recognised that intercultural dialogue                                                                                                                             photographs taken at the National Library
can be achieved through the arts, a Cultural Diversity Observatory can be                                                                                                                                  of Ireland, Marsh’s Library, the Long Room
established which will implement UNESCO policy in the area. Added to this,                                                                                                                                 in the Old Library of Trinity College, the
individual artists can explore exchange project opportunities by making                                                                                                                                    Merrion Hotel, and the Great Hall, Chapel
contact with artists from African countries living in Ireland. Further study could                                                                                                                         and Johnston Room of the Royal Hospital
                                                                                                                                                  Paul Murnaghan
be made of the cultural contacts between Ireland and Africa. A good starting               Deirdre Power,                                                                                                  Kilmainham. The types of architectural
point is Bob Quinn’s The Atlantean Irish which covers the historical cultural                                                                                                                              space to which Höfer is repeatedly drawn
                                                                                           The core visual arts element of this years’            Paul Murnaghan’s ‘Turn me on dead man’
connections between Ireland and North Africa. This proposed Observatory can                                                                                                                                are, without exception, public or semi-
                                                                                           Kilkenny Arts Festival was the exhibition              at the Basement Gallery in Dundalk, (18
facilitate joint-venture activity involving the Non Governmental Agencies                                                                                                                                  public places that have been constructed
                                                                                           entitled ‘Failure’ situated in various site            Aug – 8 Sept) referenced              a reversed
working in Development Education (Dochas), Irish Aid and the Arts and                                                                                                                                      for specific purposes; spaces in which we
                                                                                           across the city (11 – 20 August), curated by           message embedded in a 1960’s vinyl
Cultural sector in order to achieve these aims.                                                                                                                                                            may expect to linger a while but not
                                                                                           Mike FitzPatrick. The show brought                     album. The show explored how the
     Visual Arts Ireland as a member of the International Liaison Committee of                                                                                                                             reside.
                                                                                           together a range works by Irish and                    message could be read as a mantra
the Coalitions for Cultural Diversity, campaigns to have the Irish Republic sign                                                                                                                                 Candida Höfer was born in 1944 in
                                                                                           international artists including Bas Van                applicable to varied factions through the
the UNESCO Convention on the Protection and Promotion of the Diversity of                                                                                                                                  Eberswalde, Germany,                  Having studied
                                                                                           Ader, Vito Acconci, Caroline McCarthy,                 ages, comprising of drawing, installation,
Cultural Expression 2005. I recommend that a meeting take place between VAI                                                                                                                                film at the Kunstakademie Düsseldorf, she
                                                                                           Deirdre Power, Tom Fitzgerald, Gerard                  video and sound.
and Culture Ireland to discuss Articles 14 and 16 of this Convention dealing                                                                                                                               went on to study photography under
                                                                                           Byrne, Martin Healy, Nevan Lahart and                         Murnaghan decribes himself as a “a
with Cooperation for Development as soon as possible to address the reasons                                                                                                                                Bernd and Hilla Becher.
                                                                                           Tina O’Connell.                                        documenter, illustrator and guinea-pig,                                                    
why Africa has been left out of the Irish Cultural mindset.
4                                                                                                                                                                 The Visual Artists’ News Sheet                                        September / October2006

 COLUMN                                                                                   ROUNDUP

Sarah Glennie                                                                            INITIALS AT IMMA                                           JEANNE SILVERTHORNE                                       between Insider and Outsider art and the
                                                                                                                                                                                                              impact of some Outsider artist on the
Building for the Future                                                                                                                                                                                       work of many of the greatest artists of the
                                                                                                                                                                                                              past 100 years. The exhibition is built
                                                                                                                                                                                                              around the Musgrave Kinley Outsider Art
THE Model Arts and Niland Gallery is about to embark on a major
                                                                                                                                                                                                              Collection, on loan to IMMA since 1998. It
redevelopment with building work planned for September 2007. This is not the
                                                                                                                                                                                                              has already been shown to critical acclaim
place to go into the details of the redevelopment, but essentially we will be both
                                                                                                                                                                                                              at Fundación ‘la Caixa’, Madrid, and the
adding to and improving our existing space and the plans include new galleries,
                                                                                                                                                                                                              Whitechapel Gallery, London, both co-
artists’ studios, performance space and more storage.
                                                                                         James Coleman I N I T I A L S, 1993-94                                                                               organisers, with IMMA, of the show. The
     I have been working on these plans since I started work at the Model in
                                                                                         Projected images with synchronised audio narration.
                                                                                                                                                                                                              show features the work of modern
September and as we progress into the project, I and our working group, have             Photo: Courtesy of James Coleman ©
                                                                                                                                                    Jeanne Silverthorne Burning DNA
                                                                                                                                                                                                              masters such as Jean Dubuffet, James
been increasingly making very specific decisions that will determine the feel of
                                                                                         IMMA hosted the first showing in Ireland                   Burning       DNA          Jeanne      Silverthorne’s     Ensor, Philip Guston and Joan Miró with
the building long after my tenure as director. With the ACCESS II Capital
                                                                                         of I N I T I A L S one of the most important               installation at the Butler Gallery, Kilkenny              that of a wide cross section of Outsiders,
Investment Scheme recently announced by the Department of Arts there will
                                                                                         works by James Coleman (4 Aug – 3 Sept).                   (12 Aug – 24 Sept) addresses the literal and              including Henry Darger, Madge Gill and
now be many directors in the similar position of trying to envisage a new future
                                                                                         The slide-tape installation, dating from                   metaphorical implications of DNA, the                     Adolf Wölfli.
for their galleries.                                                                                                                                                                                                                           
                                                                                         1993-94, is one of a trilogy of works by                   molecule that encodes the genetic
     There is clearly an enormous responsibility in any decisions determining
                                                                                         Coleman acquired by IMMA through                           information that is passed from one
the form and nature of public gallery spaces. This is particularly the case in                                                                                                                                INTERVENTION / REINVENTION
                                                                                         funding from the Heritage Committee of                     generation to the next. Amongst its
spaces like the Model whose key policy is to engage with contemporary art and
                                                                                         the National Cultural Institutions in 2004.                elements the show features tiny rubber
respond to developments in current art practice. One of my main concerns from
                                                                                         James Coleman is widely regarded as                        figures, modelled by the artist from
the beginning has been to create enough flexibility of use in the building for it to
                                                                                         having a uniquely influential role in a                    photographs           displayed         with        DNA
remain relevant and exciting for future contemporary artists but to some extent
                                                                                         range of media that dominate large areas                   information on the sitters who were
this is an impossible task and requires a foresight that none of us have.
                                                                                         of current art practice. For more than 30                  selected for the joint ancestry back to
     In the 1980s an ability to take monumental sculptural work was seen as a
                                                                                         years he has used the photograph, the                      seven common female ancestors some
prerequisite for contemporary galleries but somehow now it doesn’t seem so
                                                                                         projected film still, the transparency, the                1000 years ago.
important – but who is to say this will continue to be the case in 30 years time.                                                                                           
                                                                                         slide show with sound track and the film
Similarly in the age of laptop art production large-scale working spaces designed
                                                                                         as powerful means of conveying his
for object making do not seem the most effective way to provide practical                                                                           NEW WORKS                                                 Ian Wieczorek Land Series 1, No. 3
                                                                                         reflections on the meaning of the image,
working spaces for as many artists as possible. But again will this continue to be                                                                                                                            ‘Intervention         /         Reinvention’           Ian
                                                                                         whether moving or static.
the case? Things can change so quickly that buildings designed around current                                                                                                            Wieczorek’s showing of new paintings at
art concerns quickly feel tired and prescriptive. Already the recent desire for                                                                                                                               the Custom House Studios and Gallery,
contemporary galleries to have ‘multi-media’ spaces with high level technical            MACHINES GIVE ME FREEDOM
                                                                                                                                                                                                              Westport (3 – 27 August) examined
specifications feels dated and tied into a very particular view of future art                                                                                                                                 notions of context and character in terms
production that has not necessarily been realised. A recent visit to two recently                                                                                                                             of visual cues and perceived expectations.
refurbished galleries in the UK highlighted these dangers as their ‘mulit-media’                                                                                                                              The works, while resembling landscapes
spaces already feel too limited and they are frequently being adapted for a more                                                                                                                              were in fact derived from sides beef – the
flexible use by work with a less technologically focused remit. The flip side to                                                                                                                              artist transforming the viewer’s reading of
this though is the continuing frustration of visiting new spaces that still fail to                                                                                                                           imagery through the utilization of
provide the basics for the presentation of audiovisual work such as light and                                                                                                                                 painting techniques and style typically
sound control.                                                                                                                                      Anthony Lyttle World III                                  associated with landscape painting in
     More difficult again to get right than the physical specifications of the                                                                                                                                Ireland.
space is the feel of the gallery. Will it be a space that artists respond well to and
want to show work in? To me this is at the core of a successful gallery as a good                                                                                                                             LARS ARRHENIUS
‘match’ between artist and space creates the best environment for the audience
                                                                                         Hugh McCarthy La Naturaleza ha Muerto
to experience an artist’s work. In my experience this ‘match’ does not always
happen with the clean white cube that is often held up as the ideal for gallery          Hugh McCarthy exhibited colourful
spaces. The Model is a very good case in point where the unique character of our         abstract works in his exhibition ‘Machines
19th century galleries offering differing scales, good light and changing                Give Me Freedom’ at the Stone Gallery,
perspectives is almost universally met with a good response from artists and             Dublin (30 June – 18 July). The paintings
audience despite the limited wall heights,         small doors and architectural         combined imagery patterns and shapes
detailing. There are many examples that spring to mind of characterful,                  referencing contemporary design, mass
awkward spaces that do not follow the rules of good gallery design but which             media culture and consumerism.
                                                                                                                       David Begley Laocoon
have still resulted in memorable shows where artists’ work seems to sit in
perfect harmony with the space (Inverleith House, IMMA and the Serpentine).              VISUAL ARTS AT MERMAID                                     ‘New Works’ at Newtownbarry House
Should this lead all architects and planners of new gallery spaces to looks for                                                                     Gallery presented new works by the
uniqueness and character over simplicity? Will art find its place in a well                                                                         painters David Begley and Mary Canty;
                                                                                                                                                                                                              Lars Arrhenius Habitat, 2005, animation, DVD, 8 min.
designed building and should architecture aim for interest over neutrality?                                                                         along with printworks by Anthony Lyttle
Again I don’t know the answer to this. For every example of a dynamic new                                                                           and (21 July 7 August). All the artists have              Swedish artist Lars Arrhenius’s exhibition
gallery that works well for both audience and artist there is the horror of an over-                                                                exhibited in many group and solo shows                    at Temple Bar Gallery & Studios (26 July –
designed space that will always feel like an architectural folly dominating and                                                                     throughout Ireland.                                       2 Sept) ‘If signs had souls’ presented wry
compromising the art shown in it (the Tate St Ives immediately springs to mind).                                                                                     
                                                                                                                                                                                                              social observations and contemporary
     Ultimately though decisions have to be made and stood over with                                                                                                                                          narratives through works utilising a
confidence and certainty. Our decision at the Model has been to go for quality of                                                                   INNER WORLDS OUTSIDE
                                                                                                                                                                                                              universal       graphical        visual    language,
gallery over quantity. The new plans will create a ‘circuit’ of galleries on the first                                                                                                                        recalling      technical        illustrations      and
floor that creates a cohesive uninterrupted environment for artist and audience                                                                                                                               public signage. In his portrayal of the
and overcomes a current slightly awkward split between levels that interrupts                                                                                                                                 mundane, Arrhenius has been likened to a
the experience of a show. The additional space in the new building is being used         Jean Clyne Fire Field 60 x 60cm Oil on Linen
                                                                                                                                                                                                              modern day Bruegel, while his penchant
for other aspects of the Model’s activities – new studios and performance space          Currently on show at the Mermaid, Bray is                                                                            for pithy humour and understanding of
and the less glamorous but essential additional storage, offices and toilets, all of     the       ‘Glendarragh            Studio       Group                                                                 human foibles links him to a succession of
which will allow us to provide a better experience for both artists and audience.        Exhibition’ (18 Aug – 16 Sept).The studio,                                                                           social satirists from Jane Austen, Hogarth
We feel we have come up with the best possible solution and the new Model will           founded by Fiona Coffey, is located rural                                                                            and Woody Allen. The show was the
be able to develop and meet its future potential. However, I have no doubt that          North County Wicklow. The work in this                     Perifimou, Forbidden Territory, 1986, Acrylic on paper
                                                                                                                                                                                                              artist‘s first solo outing in Ireland,
there will still be some cursing by my successors over decisions that make total         exhibition records a diversity of artworks                                                                           comprised the large wall mounted
sense to us now but may not be so right for the future. This is the risk that has to                                                                Comprising 140 works, ‘Inner Worlds
                                                                                         and styles that have been developed and                                                                              graphic A-Z and the digital animations
be taken in the quest to improve what we have and leave the best possible arts                                                                      Outside’ at IMMA (26 July – 15 October)
                                                                                         created by the artists during their time at                                                                          The Street, Habitat and The Man Without
infrastructure for those coming after us.                                                                                                           explores the many myths surrounding
                                                                                         Glendarragh Studios.                                                                                                 Qualities.
                                                                                                                  Outsider artists, showing the parallels                                       
The Visual Artists’ News Sheet                                     September / October 2006                                                                                                                                                                               5

ROUNDUP                                                                                                                                                                               COLUMN

DRAWN CONCLUSION                                         RDS TAYLOR ART AWARDS 1878-2005
                                                         Currently on show in the National Gallery,
                                                                                                                        PALOMA VARGA WEISZ
                                                                                                                                                                                      Alan Phelan
                                                         Dublin (26 June – 22 October) is an                                                                                          Memory is More Than an Index Card
                                                         exhibition focusing on the winners of RDS                                                                                    AS someone who works part-time as an archivist, the recent popularity of
                                                         Taylor award, which was established in                                                                                       archive practice within art has always been of interest to me. I have myself even
                                                         1878. The show is a contribution to the                                                                                      used the archive concept, for one project in particular which utilized archive
                                                         275th anniversary celebrations of the                                                                                        records and as a whole presented itself as a kind of ‘living archive’. Generally
                                                         Royal Dublin Society. The exhibition                                                                                         archives are repositories, meaning places where stuff goes to ‘repose’ or lie
                                                         features       winning         works        by     Walter                                                                    dormant. But archives are also places where information can be accessed – not
                                                         Osborne (The Tempting Bait, 1882), Patrick                                                                                   hermetically sealed for posterity.
                                                         Tuohy (Supper Time, 1912), Rose Brigid                                                                                            The way much archive material is presented in the art context has to do
Mary A FitzGerald
                                                         Ganly (Pity, 1929), Dorothy Cross (Pierrot,                                                                                  with presenting raw information. There is something strangely ‘objective’, it
                                                         1977), James Hanley (Captain Courageous                                                                                      would seem, about the implications of the archive. I reckon this can be traced
                                                         Land Lover, 1991), and Neva Elliott                                                                                          back through contemporary history to the early days of conceptual art, when
                                                         (Without Breaking, Clean Break, 1999).                                                                                       lists and index cards were all the rage. Within most of this work there was the
                                                                                                                                                      urge to present pure information without any decorative nonsense. Stanley
                                                                                                                                                                                      Brouwn’s filling drawer piece springs to mind, one of which was purchased by
                                                                                                                                                                                      Tate Modern last year to the horror of the press and blog community, which
                                                         MAZE & AGREEMENT                                              Paloma Varge Weisz Hirsch, Stehend 1993 limewood
                                                                                                                                                                                      contains 1,000 blank index cards.
                                                                                                                        Paloma Varga Weisz’s show at the Douglas                           But there have always been colourful debates criticising early conceptual
Kate Betts
                                                                                                                        Hyde Gallery (29 July – 16 Sept) features                     work by many of its proponents. Mel Bochner, for example, never trusted in the
‘A drawn Conclusion’ Kate Bett’s and Mary                                                                               wood sculptures and drawings. Weisz’s                         transparency that was being mooted by these artists. As he saw it there was no
A Fitzgerald’s a collaborative exhibition at                                                                            has a growing profile for her traditionally                   new objectivity being forged through these ‘language games’. Other attempts in
The Tipperary Excel Gallery (23 June –                                                                                  carved wood sculptures that recall the late                   the 1980s to revive objectivity by, for example, curator Jean Francois Chevrier,
21st July) featured works on paper, wall                                                                                gothic style of her native Germany, which                     proved to be short-lived and somewhat faddish. His fetish for the large, over-
pieces and a large wall / floor installation.                                                                           represent surreal hybrids of people and                       sized photograph, provided another possible trajectory from the Bechers’
The     works       in   the     show      explored                                                                     animals.                                                      deliberate descriptive images, but art photos have long since shrunk. Maybe I
                                                                                                                                                  am being harsh here, as ideas do change and are played out or acted out over
unconventional approaches to drawing
techniques and modes of presentation,                                                                                                                                                 only a limited amount of time. To keep things fresh ideas are tweaked and
including the utilisation of print multiples                                                                            BITTNER AND GLABIS AT QSS                                     morphed into new ones – which sometimes say the same stuff, but at least the
                                                         Raymond Watson Cold Floor
and Rorchschach inkblot exercises.                                                                                                                                                    new language games keep things interesting.
                                                                                                                                                          The archive is a useful tool or model in the presentation of factual
                                                         Raymond Watson’s exhibition in Sirius
                                                                                                                                                                                      information. The pedantic professional archivist inside me, however, looks at
                                                         Arts Centre, Cobh (August) featured two
ARCHIPELAGO AND OTHER STORIES                                                                                                                                                         many of these art archives and scoffs. Too often the ‘archive’ gets used to locate
                                                         separate, but thematically connected
                                                                                                                                                                                      a few files or documents and this in no way resembles the reality of any archive,
                                                         bodies of work. The Hands of History, is a
                                                                                                                                                                                      which generally is stuffed to the seams with hundreds of thousands of
                                                         sculptural work based around the Good
                                                                                                                                                                                      documents, many lying around uncatalogued or non-retrievable for decades.
                                                         Friday Agreement, while The Maze, series
                                                                                                                                                                                      What the archivist does is provide routes to and into this mass of information
                                                         paintings consider various aspects of the                      Gudrun Buttner Deaf Eric. (2003)
                                                                                                                        Stop Motion Animation.                                        for the researcher.
                                                         human interaction with the prison.
                                                                                                                                                             With art though, it’s all different. The artist is not trying to be an archivist,
                                                                                                                                                                                      and the audience are not researchers. But in reality that is what is being
                                                         RICARDO                                                                                                                      proposed, as many of the activities are similar. With much archive-related art
                                                                                                                                                                                      practice, a selection of records are ordered, or numbered, and sometimes
Ciaran Walsh
                                                                                                                                                                                      catalogued or at least listed. The key here is the selection which is presented to
‘Archipelago and Other Stories’ Ciaran                                                                                                                                                an audience. Calling the selection an ‘archive’ implies that there is much more
Walsh’s exhibition of new work at Four,                                                                                Pau Pascual GalbisEl Green. (2005) Audiovisual Installation.   stuff somewhere else, but the artist has selected a range of material for the
Dublin (28 July - 30 September) considers                                                                               Video, film and installation artists Gudrun                   audience. Rarely are there enough records to create that the critical
notions of escapism, confinement and the                                                                                Bittner & Pau Pascual Galbis were recently                    information-mass that an archive should contain.
sense that perfection is always elsewhere.                                                                              visiting resident artists at Queen Street                          What these selections or partial archives present is the opposite of
In the show small scale representations of                                                                              Studios, Belfast. Austrian artist Gudrun                      objective raw information, but rather a subjective glimpse for the viewer /
fictional      places,     architecture          and                                                                    Bittner and Pau Pascual Galbis from Spain                     researcher. If the archive model is taken to the next logical turn, the viewer /
situations mediate between imagined                      Margaret Tuffy Ricardo: A Moving Portrait. (Video Still)       showed a number of video works at QSS.                        researcher surveys the material and goes off and writes up the research. Now
personal landscapes and narratives, and a                                                                                                  
                                                                                                                                                                                      this is foolish in an art context, as what happens is that the viewer has to decide
                                                         Margaret Tuffy showed Ricardo: A Moving
sensation of restraint experienced through                                                                                                                                            where meaning lies from the clues presented by the artist. The narrative is not
                                                         Portrait at the Crow Gallery, Dublin (20 –                     OBSESSION
the physical and social facts of external                                                                                                                                             directly centred on the raw material but in the space around and between it.
                                                         30 July). Tuffy met the subject of this work
reality. Graduating from Dun Laoghaire                                                                                                                                                     There have been many incidents recently where this has worked and
                                                         while working as a film extra. Ricardo also
Institute of Art, Design and Technology in                                                                                                                                            others where the archive becomes something else entirely. The General Idea
                                                         a film extra, discusses in the video his film
2003 and currently living and working in                                                                                                                                              archive material presented at Project recently created an odd hagiography to
                                                         related ambitions and fascination with
Dublin, Ciaran Walsh has exhibited in                                                                                                                                                 queer art practice, and although dubbed ‘a partial retrospective’, it left out
                                                         film. The piece is the first in a series of
‘Haunted’ in the City Arts Centre,                                                                                                                                                    decades of actual practice to make its few but interesting observations. Neva
                                                         portrait video-works by the artist, which is
‘Elsewhere from Here’ in the Workroom,                                                                                                                                                Elliot’s Archiving Limerick project as part of the ‘Fresh’ collections show at LCGA
                                                         inspired by the changing face of the
and ‘Flagged’ a part of the VISUALISE:                                                                                                                                                used the archive model to document numerous encounters the artist had with
                                                         contemporary urban landscape and the
Carlow public art programme. He has                                                                                                                                                   local leisure and hobbyist groups. Many of the files however were pretty empty
                                                         desire to capture the nature of local
most recently exhibited as part of                                                                                     Pat Burnes Obsession                                           and it was far more interesting hearing from the artist herself about her many
                                                         characters within a transient community
‘Imagined - Visions of Architecture’ in The                                                                                                                                           strange and wonderful experiences ranging from youth drama to retired writing
                                                                                                                        Pat Burnes’ exhibition ‘Obsession’ at the
Dock, Carrick-on-Shannon in June of this                                                                                                                                              clubs. The Moore Street Lending Library collected information rather than
                                                         CONOR FALLON                                                   Signal Art Gallery, Bray (25 Sept – 8 Oct) is
year and is presently working as curator                                                                                                                                              presenting an existing archive – similar to Elliot but with tighter socio-
                                                         A mini-retrospective of Conor Fallon’s                         described as “being driven by obsessions –
for part of VISUALISE: Carlow’s 2006/2007                                                                                                                                             geographical limits. The results were also presented on site and not in a gallery,
                                                         work was recently shown at the Norman                          with art making, memory, landscape and
programme.                                                                                                                                                                            maintaining a strong link between site and content. This is where the living
                             Gallery, Enniscorthy (1 – 23 July). The                        the history of her hometown, Bray”. The
                                                                                                                                                                                      archive remains as true as possible to its participants, and where there is no
                                                         exhibition featured 16 of the artist’s                         works in the show are painting and print
                                                                                                                                                                                      attempt to translate or distil the material for an art audience. What happens
                                                         sculptures from 1976-2005, along with                          works derived from old black and white
                                                                                                                                                                                      next with the MLL will be interesting to see.
                                                         drawings and prints.                                           family photographs, derived from a
                                                                                                                                                                                           It was also refreshing to see Sarah Pierce’s approach in her recent Project
                                                                                         repeated process of enlargement and
                                                                                                                                                                                      show in complicating further the notion of the archive, by mixing remakes of
                                                                                                                        reproduction–             which          the        artist
                                                                                                                                                                                      iconic sculptures with borrowed maquettes, drawings from her mother and
                                                                                                                        acknowledges was inspired in part by
                                                                                                                        Anonioni’s famous 1960s movie Blow-Up.                        letters from a Kent State University archive. Theodor Adorno may have
                                                                                                                                                                                      described the museum a mausoleum of artworks, but when there is a good
                                                                                                                                                                                      range of material presented, life can be again infused into dead old records.
6                                                                                                                                                                               The Visual Artists’ News Sheet                                           September / October 2006

ROUNDUP                                                                                                                                                                         COLUMN

AUSTRALIAN PRINT EXCHANGE                                                                                                LILY WHITE
                                                                                                                                                                                Una Walker
                                                                                                                                                                                Mythical Beasts

                                                                                                                                                                                JUST when sightings of UFO’s are reported as being at an all-time low and faith
                                                                                                                                                                                in eerie phenomena appears to be diminishing, the creature know as the ‘Ulster
                                                                                                                                                                                Artist’(1) , previously thought to be extinct, has recently made a come back, with
                                                                                                                         Gemma Browne Lily-White No. 6 (2006)
                                                                                                                                                                                sightings in the vicinity of Ormeau Avenue reported. The Ulster Artist was first
                                                                                                                         Acrylic on linen, 52 x 42 cm                           identified (some say invented) by the poet and curator John Hewitt some time
                                                                                                                         Gemma Browne’s new body of work, Lily                  in the 1950s. This is not to say that artists of the more general kind had not been
                                                                                                                         White – shown at the Kevin Kavanagh                    spotted in the north-east of the island before this date. These artists were of two
Michael Zschech Wail-Whale-Wail Digital Montage.                                                                         Gallery (14 July – 11 August), was                     main varieties: those who had been born and trained elsewhere and who took
‘EPPM: An Exhibition of Australian Prints                                                                                concerned with the notions around the                  up residence for short periods: and those who had been born, and possibly even
– Landscape, Portraiture, Still Life’ at                                                                                 freshness, innocence and possibilities of              trained in Ulster, but who left at the first opportunity. In the post-war period,
Limerick Printmakers (13 July – 3 August)                                                                                youth. The paintings in the show were                  when free third level education became available, output of Ulster trained
presented work from Exchange Partners in                                                                                 derived from composites of images of                   artists began to outstrip export demands and some of them stayed at home, but
Print Media, an Australian non-profit                        Eimear Brennan                                              teenagers from fashion magazines –                     these conditions did not of themselves produce the Ulster Artist.
organisation for media artists. EPPM have                    O’Donovan, Piia Rossi, Cresta Simonsen                      images that strive to conjure a world of
been organising exchanges of print                           and Jasia Szerszynska.                                      youth and its endless possibilities and                The geographical prefix would normally imply being from that place, however,
portfolios since 1992 and over 260 artists                                                 optimism in order to drive consumption.                in this instance it in fact indicates some essential quality. Hewitt attempted to
                                                                                                                                           define this; “being an Ulster artist is not primarily a question of birth, of blood or
have participated in the exchange since
                                                             KAUNAS PHOTO DAYS 06                                                                                               accent: it is the condition of being involved in Ulster life and Irish landscape,
then. Their print portfolios are held by
major art and print collections in Australia                                                                                                                                    and finding therein the material for his art”. This reference to landscape may
                                                                                                                         PICASSO, HISTOIRE NATURELLE
and overseas.                                                                                                                                                                   prompt recollection of Roy Foster’s argument in Varieties of Irishness that the
                                                                                                                         Navan’s new visual arts facility, The
                                                                                                                                           cultural roots of the nationalist revival lay in differentiating between the values
                                                                                                                         Solstice Arts Centre recently showed
                                                                                                                                                                                of the city (perceived as English) and the country (perceived as Irish). In 1971
TWO ALS                                                                                                                  Picasso’s Histoire Naturelle graphic suite,
                                                                                                                                                                                one the Arts Council of Northern Ireland’s contributions to Festival ’71 was
                                                                                                                         initiated in 1936 by picture dealer and
                                                                                                                                                                                Causeway, a collection of essays of different aspects of the arts in NI. In the
                                                                                                                         publisher        Ambroise          Vollard,      to
                                                                                                                                                                                painting and sculpture section Kenneth Jamison states that though Belfast is
                                                                                                                         accompany the classic 18th century text of
                                                                                                                                                                                the artistic centre of the province, the city has had little influence as many
                                                                                                                         the same name by George-Louis Leclerc de
                                                             John Kelly                                                                                                         artists were born in the country and most have used it in their work. In fact
                                                                                                                         Buffon. Picasso chose 31 animals, birds and
                                                                                                                                                                                William Conor, the leading light amongst artists in Northern Ireland until the
                                                                                                                         insects and drew them not from life but
                                                             Irish artist John Kelly is taking part in                                                                          1960s, consistently depicted the                   mill and shipyard workers against the
                                                                                                                         with his mind’s eye. A series of workshops
Al & Al Perpetual Motion In the Land of Milk and Honey       Kaunas Photo Days 06, the largest festival                                                                         background of street life in Belfast, indicating that perhaps the essential
                                                                                                                         and lectures will complemented the
                                                             of photography in the town of Kaunas,                                                                              qualities defining ‘Ulsterness’ lay elsewhere.
                                                             Lithuania, taking place in September.                                       
                                                             Kaunas Photo Days 06 is the third edition                                                                          Some have doubted the very existence of the Ulster Artist. Hugh Shearman,
                                                             of the annual festival which is a member                                                                           theosophist and writer of novels such as The Bishop’s Confession, has been
                                                             of Photofestival Union. Kaunas Photo                                                                               described as a moderate apologist for the Stormont Government. From 1946
                                                             Days is presented in traditional and non-

Al & Al Perpetual Motion In the Land of Milk and Honey
                                                             conventional spaces: galleries, medieval
                                                             and new museums, centred on the
                                                                                                                           Get into the                                         until the late 1960s numerous editions of his Northern Ireland; its History,
                                                                                                                                                                                Resources and People, were published by HMSO in Belfast. In earlier editions the

Presented as part of the Straylight Art
Programme accompanying the Darklight
                                                             historical centre of Kaunas. The theme of
                                                             the event this year is “EuroAsia - Re-
                                                                                                                           Roundup                                              arts are not dealt with specifically but are mentioned in connection with ‘The
                                                                                                                                                                                Ulster Character’. According to Shearman Ulster people are “pushful, sceptical,
                                                                                                                                                                                unceremonious and individualistic.” He lists people, originally from Ulster, who
Digital Film festival. festival, the first Irish
                                                             Merging Continent.                                                                                                 have made a name for themselves elsewhere but suggests that this
solo show by UK based video artist Al and                                                       
                                                                                                                           To get your exhibition or event                      individualistic tendency prevents them from making much of their origins as
Al was shown at St Michael and John’s
                                                                                                                           considered for inclusion in the                      they “…have no wish to express or resemble any standardised Ulster ‘type’ ” By
Church Hall, Dublin ( 24 June – 8 July).                     JARED PANKIN                                                  round-up section, simply e-mail text                 1968 the arts merited a few pages in what was to be the last edition of Northern
The duo exhibited their installation
                                                                                                                           and images to the editor                             Ireland. Shearman acknowledges the creative talent in the Ulster community
Perpetual Motion In the Land of Milk and
                                                                                                                           ( Your text                  which “…emerges in a good many minor novelists, occasional poets,
Honey that takes as its theme the quest for
                                                                                                                           details / press release should                       entertaining dramatists and composers and a remarkably large number of
the holy grail of engineering along with a
                                                                                                                           include venue name, location (town                   painters. Many of these are highly successful without achieving major status as
formal examination of the spectacle of
                                                                                                                           / city), dates and brief description of              celebrities.” In an interesting slip-of-the-pen, he refers to the “Ulster Arts
capitalism - all combined with references
                                                                                                                           the work. Note that ‘hard-copy’                      Council”.
to Britney Spears’ music video Toxic!
                                                                                                    cannot be accepted due to the
                                                                                                                           volume of material that needs to be                  It is probably not surprising that Ulster Artists produced Ulster Art. In the 1960s
GBS CELEBRATED                                               Jared Pankin Untitled 2 Wood 2006                             collated for this section of the                     and through the 1970s ACNI mounted numerous exhibitions with Ulster in the
To commemorate the 150 years since                                                                                         publication.                                         title, including ‘Ulster Places’, ‘Ulster Faces’ and ‘Ulster Faces by Ulster Artists’.
                                                             Works by the American artist Jared Pankin                                                                          This last exhibition was held in 1977, the same year as the publication by ACNI
George Bernard Shaw’s birth the Original
                                                             were recently shown at the Rubicon                            Inclusion is not garanteed, but we                   of the two-volume Art in Ulster. By the 1980s the use of ‘Ulster’ in describing
Print Gallery hosted an exhibition of
                                                             Gallery, Dublin         (24 June          – 28 July).         aim to give everyone a fair chance.                  either artists from Northern Ireland or the work they produced was in decline.
artworks inspired by the writer (July 21 –
                                                             Composed of chopped and hacked                                Our criteria is primarily to ensure                  The last serious outing was ‘Ulster Art in the ‘80s’, held in the RHA Gallagher
August 10). Curated by Aidan Dunne of
                                                             wooden        planks, Pankin creates free-                    that the roundup section has a                       Gallery in Dublin in 1989. Since then both Ulster Artists and Ulster Art have
the Irish Times, Angela Greyson of the
                                                             standing and wall mounted sculptures,                         good regional spread and                             retreated from view, with occassional sightings in the mid 1990’s in the ‘Works
Shaw Society, Anne Hodge of the National
                                                             which resemble rock outcrops, which                           represents a diversity of forms of                   from Ulster Artists’ shows the Malone House Gallery, run by Belfast City
Gallery and Crona Connolly of the
                                                             sometimes featuring small hand-crafted                        practice, from a range of artists at                 Council, in the leafy outskirts of the city. The homogeneity and insularity
Original Print Gallery, this richly diverse
                                                             model trees. The works, with titles such as                   all stages in their careers.                         required for the survival of the term ‘Ulster Artist’ has dissipated, and out of the
show, exhibits the response of 20
                                                             Satan’s Six Pack,        Lucifer’s Left Nut and                                                                    chaos an entity, known simply as ‘artist’, has emerged.
established and up-and coming Irish &
                                                             Beelzebub’s Boney Boney Backbone suggest a                    Priority is given to events taking
International artists: Kate Betts, Eimear
                                                             troubled vision of an inhospitable, alien                     place within Ireland, but do let us                  (1) This piece was prompted by the use of this term in the publicity material for the first show at re-opened
Brennan,       Konstantin         Chmutin,         Cora                                                                                                                             Ormeau Baths Gallery ‘Collectors’ Collections: Northern Ireland Civil Service Art’ (9 – 22 May 2006).
                                                             and threatening natural world.                                know if you are taking part in a
Cummins, Monica Flynn, Mike Hassett,                                                   
Nickie Hayden,               Frank Kiely, Brian                                                                            significant international event.
Kreydatus,        Brian Lalor, Chul Soo Lee,
Maev Lenaghan, Janet Mullarney, Coilin
Murray,       Ruth      O’Donnell,            Michael
The Visual Artists’ News Sheet                              September / October 2006                                                                                                                                                                           7


                                                 royalty due to them under the Directive                 Applications for the scheme will be             ACNI CALL FOR RESPONSES                             IRELAND, ARCHITECTURE & VENICE

News                                             and that if this were to be found to be
                                                 the case that there may well be a
                                                                                                  accepted from 9 October 2006 until 17
                                                                                                  November 2006. The Arts Council is to
                                                                                                                                                         The Arts Council of Northern Ireland
                                                                                                                                                         (ACNI) have posted a draft of their
                                                                                                                                                                                                             Presenting a group show at the for the
                                                                                                                                                                                                             first     time        International        Venice
                                                 resumption of this aspect of the case.           work      in     collaboration       with      the     Strategic Plan for 2006 – 2011 to their             Architectural Exhibition (10 September
                                                      It was presented that due to the            Department on the selection of projects.               website and welcome feedback from the               – 19 November), Ireland has responded
It was reported in a recent article in the                                                                     
                                                 lack of provisions between 1 January                                                                    artistic    community           before       15     to the 2006 theme ‘cities, architecture
Business section of the Sunday Business
                                                 and 12 June 2006, Ballagh had incurred a                                                                September. The strategy is set out under            and society’ with an exploration of
Post that tax exempt artists along with                                                           VENICE COMMISSIONER & ARTIST
                                                 direct loss of €3,000 from the known re-                                                                four broad themes, which aim to                     Ireland’s obsession with the land and
racehorse owners are to be chased by                                                              Mike Fitzpatrick, Director / Curator of
                                                 sales of his work. In making his award,                                                                 formalise the Councils vision for the               the car. Under the project title ‘Suburban
Revenue          for     outstanding      PRSI                                                    Limerick       City     Gallery      has     been
                                                 however, the judge went a step further                                                                  next 5 years. The four areas of focus are:          to      Super-rural’      nine     architectural
contributions going back to 1988.                                                                 appointed Ireland's Commissioner for
                                                 and ruled that it was certainly possible                                                                promoting the value of the arts;                    practices look ahead to the next 25 years
     Visual Artists Ireland contacted the                                                         the 2007 Art Biennale in Venice. He has
                                                 that there were further sales that the                                                                  strengthening        the    arts;     growing       considering our preoccupation with
journalist who wrote the article. It                                                              chosen artist Gerard Byrne to represent
                                                 artist might not have been aware of and                                                                 audiences and improving organisational              living on the edge or beyond the city’s
seems the main source of this story                                                               the country for what will be the 52nd
                                                 that as a result of this; and the lengths                                                               performance.                                        hold. The curators are FKL architects
came from a person or persons in the                                                              Venice Biennale. Byrne’s work is largely                                
                                                 that the artist had to go to claim his                                                                                                                      (Michelle Fagan, Paul Kelly, Gary
stallion industry rather than persons                                                             lens     based     -     film,      video      and
                                                 legally due royalties, that he would                                                                                                                        Lysaght)        and       the      participating
from the arts. The journalist maintains,                                                          photography; and has been shown                        VISIT STUDIOS
                                                 award a total of €5,000 in damages.                                                                                                                         exhibitors are Boyd Cody Architects,
however, that there would also be                                                                 recently at the Tate Triennial 2006, New               For the first time in Dublin, over one
                                                     Speaking afterwards Ballagh was                                                                                                                         Bucholz McEvoy Architects, dePaor
implications for artists.                                                                         British Art at Tate Modern, London. His                hundred artists will open their studio
                                                 obviously pleased that the case had been                                                                                                                    architects, FKL architects, Henchion
     We spoke to a person from the Tax                                                            forthcoming shows include the Nordic                   doors to the public. Seven of the city’s
                                                 won but expressed disappointment at                                                                                                                         Reuter      Architects,      Heneghan        Peng
Exemption section fn the Revenue                                                                  Biennial       Moss,     Norway,Sept         2006;     largest artists’ studio groups will take
                                                 the minimal directions provided for                                                                                                                         Architects, MacGabhann Architects,
Commissioners who denied any such                                                                 Performance           Appropriate         Gallery,     part in VISIT, an all day event
                                                 within the new Regulations.                                                                                                                                 ODOS Architects, Dominic Stevens
investigations into artists are underway                                                          Vancouver (Solo) March 2007 and                        programmed for Saturday 30 September
and confirmed that as far as she is aware                                                         Model Arts & Niland Gallery (solo),                    this year. The purpose of the event is to                        
                                                 PALLAS STAY OF EXECUTION
there are no plans to single out and                                                              Sligo, April 2007.                                     provide an insight into the spaces where
                                                 After a meeting with Dublin City
pursue artists in relation to PRSI.                                                                                                                      art is made, to view new work and to                AC BROADCASTING REPORT
                                                 Council, Pallas Studios has been given a
Despite repeated attempts we were not                                                             NEW PROJECT PEOPLE                                     meet the artists in situ. Groups and                The Arts Council has announced that it
                                                 stay of execution on Sean Treacy house.
able to get a conclusive answer out of                                                            The gallery at Project Arts Centre is soon             organisations participating include –               is to commission a report on the arts and
                                                 The Council has agreed to allow Pallas
the Department of Social Welfare,                                                                 to have two new staff at the helm, after it            Broadstone Studios, Brunswick Street                broadcasting in    Ireland.   This
                                                 to use the flats until the end of 2006.
however, no one we spoke to in that                                                               said goodbye to it curator of five years               Studios, Dublin City Council: The Red               announcement is timely considering
                                                 Pallas will re use these spaces as arts
department could enlighten us as to any                                                           Grant Watson; and assistant curator                    Stables, Fire Station Artists’ Studios,             the recent changes to the arts
                                                 studios. However, Pallas Heights will not
such initiative in relation to artists.                                                           Gavin Delahunty. Shortly after Watson’s                IMMA's Artists’ Residency Programme,                programming schedule on RTE Radio 1.
                                                 re-open as an exhibition space.
     As most artists are aware, payment                                                           move to the Muhka space in Antwerp,                    Pallas Heights and Studios and Temple               The Council hopes to find out how well
                                                      The decision by the City Council is
of PRSI is and always has been                                                                    Delahunty left to take up a position as                Bar Gallery and Studios.                            the diversity of the arts in Irish society is
                                                 a temporary measure, and the studios
compulsory. Artists are liable to pay                                                             Assistant Curator at Modern Art Oxford,
                                                                                                                                                                                                             reflected in TV and Radio coverage as
                                                 still face the future with no long term
PRSI on all their income even that                                                                where he now works in the exhibitions                                                                      well      as    through         internet    based
                                                 security for the artists. Pallas Studios                                                                CULTURE NIGHT
income which is tax exempt and there                                                              department.                                                                                                broadcasting. Issues which will be
                                                 main studio on Foley street, which is                                                                   On Friday, 22 September Dublin will
has always been a process and procedure                                                                  Delahunty will be replaced by                                                                       addressed in the report include: Public
                                                 rented from a private landlord and                                                                      host it’s very first culture night when
for dealing with this. If any such                                                                Jonathan Carroll, who has previously                                                                       service        broadcasters         and      their
                                                 which houses 14 artists has now closed                                                                  over 40 cultural venues across the city
retrospective investigation were to go                                                            worked      at    IMMA        and     graduated                                                            responsibility in safeguarding the arts;
                                                 but the company is seeking continuity                                                                   will keep their doors open until late into
on it would likely focus on those artists                                                         recently from the MA in Curating at the                                                                    The Arts Council and its work directly
                                                 on the lease for their office, so their                                                                 the evening making it possible for many
who might never have actually made                                                                Royal College of Art, London. The                                                                          with local radio; Raising the quality of
                                                 postal address remains the same. Pallas                                                                 people who are not available during the
any kind of tax return rather than on                                                             recruitment process for Grant Watson's                                                                     critical debate and creating excitement
                                                 is continuing to seek long term secure                                                                  day to enjoy the city’s cultural riches.
those who have registered for tax                                                                 successor is in its final stages and it is                                                                 about the arts and Digital technology
                                                 spaces for artists in the city centre and                                                               Most of the cities galleries, museums,
exemption and have declared their tax                                                             hoped that an announcement will be                                                                         and how it will change the broadcasting
                                                 will remain alive as an organisation                                                                    theatres, arts centres and cultural trails
exempt income.                                                     made soon. Meanwhile, the next                                                                             landscape - how can this be harnessed to
                                                                                                                                                         will participate in the initiative.
                                                                                                  exhibition at Project will be guest                                                                        benefit the arts.
BALLAGH & RESALE RIGHT CASE                                                                                                                                   Culture Night is organised by                                          
                                                 ACCESS II: NEW GRANTS SCHEME                     curated by Hugh Mulholland, formerly
At a sitting of the high court in June, a                                                                                                                Temple Bar Cultural Trust and the
                                                 Minister for Arts, Sport and Tourism,            of Ormeau Baths Gallery, who will work
ruling was announced concerning                                                                                                                          Council      of       National        Cultural      IRISH AMERICAN ARTS AWARDS
                                                 John O’Donoghue, has announced a                 with the Belfast based organisation
Robert Ballagh’s case against the state for                                                                                                              Institutions with the intention to create           The Irish American Arts Awards were
                                                 new scheme to support investment in              Factotum.
damages          incurred    due   to      the                                                  /       greater awareness of Dublin’s cultural              launched earlier this year to recognise
                                                 arts and culture infrastructure.
government’s failure to implement the                                                                                                                    offerings as well as to encourage more              and celebrate artists of Irish ancestry
                                                      ACCESS II (Arts and Culture
artists’ resale right.                                                                            JEANETTE DOYLE @ LOCATION ONE                          collaboration and co-operation among                across the world as well as to highlight
                                                 Enhancement Support Scheme II) will
    Ballagh was awarded €5,000 in                run from 2007 to 2009 and is a successor
                                                                                                  The Arts Council has announced that                    the arts and cultural organisations in the          the investment potential of Irish
damages as well as being awarded all                                                              Jeanette Doyle is the 2006 recipient of                city.                                               contemporary visual art. The artists
                                                 to the ACCESS scheme introduced in
costs. In presenting the case Ballagh’s                                                           the 2006 Arts Council Location One                                                                         short-listed for the Awards in the under
                                                 August 2001.
legal representative emphasised that the                                                          Fellowship. The Fellowship offers a ten-               CARVING A FUTURE FOR BELFAST                        35 category are: Katie Holten, New York,
                                                      ACCESS II is intended to support
proceedings had been motivated by a                                                               month residency at the arts centre,                    Belfast’s parks and open spaces play host           Suzanne        Mooney,       Dublin;       Katrina
                                                 the development of arts and culture
desire to force the state into taking the                                                         Location One, in SoHo, New York.                       to more than 30 public artworks across              Moorhead, Houston; Niamh O'Malley,
                                                 facilities nationwide with priority given
EU Directive seriously rather than a                                                              Location               One           encourages        the city. To draw attention to this                 Dublin and Paul Rowley, Brooklyn.
                                                 to the renovation and maintenance of
claim for monetary recompense and she                                                             experimentation through new media                      growing sculpture trail the Forest of                       And those in the over 35 Category:
                                                 existing facilities. However there is also
stressed Ballagh's long history of                                                                and will provide Doyle with a studio                   Belfast in partnership with Belfast City            Meg Cranston, LA; Maud Cotter, Cork;
                                                 provision made under the scheme to
campaigning for the introduction of this                                                          space as well as technical and curatorial              Council,     has     launched         a    new      Maureen Gallace, New York; Mary Kelly,
                                                 support new build projects.
artists right.                                                                                    support from in-house staff. Jointly                   publication entitled Carving a future for           Dublin and Tom Molloy, Clare. An
                                                      The original ACCESS scheme
     The case brought by Ballagh had                                                              administered with the Irish American                   Belfast, a publication telling the story of         awards ceremony will be held annually
                                                 allocated €45.71 milli0n to 44 art and
originally also been seeking a judgment                                                           Cultural Institute, this Arts Council                  ‘Art In The Park’, which, since its                 in Manhattan, with the first to be held
                                                 cultural projects.     Projects supported
that would force the state into taking                                                            Fellowship is worth approximately                      inception      12      years        ago,    has     this September. The judging panel for
                                                 included     the     provision     of   new
immediate action to implement the                                                                 €40,000 which covers the cost of flights               commissioned more works of public art               the     awards     are:     Professor      Declan
                                                 museums,       art    centres    and     the
resale right. This aspect of the case was                                                         and accommodation and provides a                       than any other project. The new                     McGonagle (Chairman), Professor Colm
                                                 refurbishment of existing performance
superseded by the implementation of a                                                             monthly stipend of $2,000. Doyle will                  publication is available free of charge             Ó Briain, Cheryl Donegan, Vincent
                                                 spaces. Under this scheme, Solstice, the
Regulation on 13 June, which signed                                                               begin her Fellowship in early                          from Belfast City Council’s Parks                   Ferguson, Emily-Jane Kirwan, Alice
                                                 new arts centre recently opened in
into law the minimum mandatory                                                                    September.                                             Department, and includes a map                      Maher and Dr. Yvonne Scott
                                                 Navan was awarded €2.92 million while                                                                                                   
elements of the EU directive on Resale.                                                                                                                  showing where all the sculptures can be
                                                 the not yet completed Centre for
     It was noted by Ballagh’s legal team,                                                                                                               found in the city.
                                                 Contemporary Visual Arts in Carlow                                                                                       
however, that it was yet to be established       was awarded €3.174 million.
whether the Regulations would be
sufficient to allow artists to collect the
8                                                                                                                                                                              The Visual Artists’ News Sheet                                      September / October 2006


To Stand in Front of Other People(1)
                                                                                                                                                                                               However, performing in public does guarantee an unsuspecting
                                                                                                                                                                                       audience, which can be made integral to the work, and opens the work
                                                                                                                                                                                       to the potential of a range of responses. A particularly successful work
                                                                                                                                                                                       in this respect was Brian Connolly’s Milk the Market, performed as part
                                                                                                                                                                                       of Infusion in Limerick in 1999, which utilised a public space and
                                                                                                                                                                                       engaged it’s attending audience of shoppers to Limerick’s Milk Market.
                                                                                                                                                                                       The audience were at first often bewildered by the artist’s stall as they
Aileen Lambert Breath Street, Tract, 2006.   Aine Phillips Caravan, LCGA, Limerick, 2005.   Aine Phillips Caravan, LCGA, Limerick, 2005.                                               struggled to assimilate it within their known or accepted models of
                                                                                                                                                                                       market stall and trader. People were faced with a number of choices in
                                                                                                                                                                                       terms of their interaction with the work, and responses varied from
                                                                                                                                                                                       disgruntled to intrigue and enthusiasm.

                                                                                                                                                                                       Being Present
                                                                                                                                                                                       Fundamentally live art requires us to be ‘present’. However, there are
                                                                                                                                                                                       some practical difficulties – the opportunity to access live work is on
Aideen Barry Storm Reader, Cork 2005.        Brian Connolly Milk the Market                 Aideen Barry Synchronised Flashing, 2005.      Melissa Longnecker Charter and Manifest
Photo: Mick O Sullivan.                      Infusion ’99, Limerick.                        Photo: Clare Lymer.                            Tract, Penzance, UK 2006.                   the whole quite limited. The fact remains that most people come to
                                                                                                                                                                                       know of live art, after the fact, through publications and
LIVE art and performance art are largely interchangeable terms used to                      maps of the area in order to direct her further. Such a work places an
                                                                                                                                                                                       documentation, if at all. An increase in live art presented publicly
describe an extensive range of practices. According to Rose Lee                             emphasis on the ‘relational’. Indeed live art in public contexts can be
                                                                                                                                                                                       provides a means of changing this situation.
Goldberg, “by it’s very nature, performance art defies precise or easy                      seen as an exemplary enactment of the relational aesthetics (3) explored
                                                                                                                                                                                               If ‘being there’ is necessary to experience live art, then
definition beyond the simple declaration that it is live art made by                        in much recent visual arts practice.
                                                                                                                                                                                       performance works that take place unannounced pose obvious
artists. Any stricter definition would immediately negate the                                     In some instances, the audience need only be present to ‘view’ the
                                                                                                                                                                                       difficulties – by not allowing people to know where and when to show
possibility of performance art itself.”(2) But this hasn’t stopped                          work. But there is some truth in the classic art-gag – “how many
                                                                                                                                                                                       up. Festivals, on the other hand, do make it easy to be ‘there’. By
multitudes of people from trying. Many definitions have been                                performance artists does it take to change a lightbulb? I don’t know – I
                                                                                                                                                                                       programming a multitude of works of live art over a number of days,
proposed by artists, curators and writers – while diverse, they all stress                  left after the first four hours”. The durational aspect of some
                                                                                                                                                                                       sited in locations within easy reach of each other, the Live Art festival
the importance of the ‘presence’ of the live act in front of, or otherwise                  performance work, which aims to explore challenging physical and
                                                                                                                                                                                       organiser is providing the attending audience with a rare opportunity
in the context of an ‘audience’. More than any other art form, the                          mental states on part of performer and audiences alike, can be
                                                                                                                                                                                       to view number of live art works in a short timeframe.
relationship between artist and spectator is integral to live art.                          problematic in public settings. Addressing the fact that passers-by may
                                                                                            only have time to pause momentarily, artists have used strategies such
Why Live?                                                                                   as repetition or working through one-to-one / relational encounters
                                                                                                                                                                                       While it is accepted that live art is best experienced ‘live’, undeniably
In this media saturated age, few activities require our actual presence.                    with individual viewers.
                                                                                                                                                                                       documentation has a role to play in the circulation of information
So why make live work in an age of mass communications? Why work                                  The creation of a temporary mobile space is another approach.
                                                                                                                                                                                       about the work – alongside anecdotes and accounts from those who
in what is more-or-less the only field that still insists on presence? For                  Áine Philips will be presenting her work Caravan in Galway this                            attended and participated. For artists and audience alike, the impulse
many artists, and indeed audiences, the reason is simple – the                              November, as part of the Tulca live art festival. Philips will invite                      to document is often very apparent, at some performance events it can
pervasiveness of the ‘virtual’ is reason enough to justify the legitimacy                   people to engage in a largely relational work of live art in various                       seem that every second or third person has a camera, camera phone or
of live art. ‘Liveness’ is important in a culture of consumption and                        public spaces or ‘halting sites’, defined by the artist pitching her                       video camera. It is likely that more people will view the various forms
mass media. Live art offers us an alternative – time-based, intimate and                    caravan across Galway.                                                                     of documentation of the work, than will experience it first hand.
truly interactive reciprocal experiences. Live art requires us to be fully                        Spectacle, colour, costume and props can also be employed in                         Ironically of course, this attempt to capture, record and represent the
‘present’, to be engaged and grounded, to be aware of the lived moment                      order to draw attention in public places. Aideen Barrys’ Storm Reader,                     live work is of course in opposition to the very nature of the unique
in the here and now.                                                                        which was presented to an audience of some 2000 people as part of                          fleeting moments that form the basis of the live art experience.
                                                                                            Cork 2005, featured the artist in an insect-like dress on the surface of a
Why Public?                                                                                 large man-made lake and bird sanctuary in inner-city Cork.                                 Out of Site
Live art practitioners aim to test the limits of the possible and the                             Aspects such as scale, target audience, audience interaction,                        Curated by Michelle Browne ‘Out of Site’ will bring live art to various
permissible, and seek to be alert and responsive to contexts, sites and                     whether the audience is intended to view the work in a fleeting                            sites across Dublin (9 – 24 Sept). Presented as part of this year’s Dublin
audiences. In this respect public spaces offer live artists a multitude of                  moment or see it from beginning to end, are all aspects which the live                     Fringe Festival it features work by Irish and international artists.
contexts to respond to, along with an ever-changing and diverse                             art performer presenting work publicly must consider.                                      Browne has devised a curatorial strategy, which attempts to address
audience to address and engage. And moreover live art’s presence                                                                                                                       the inherent dilemmas around presenting performances in public
asserts an expanded notion of the function of the spaces of our towns                       Risky Business                                                                             spaces. Should works be announced in order to formally attract
and cities, beyond that of consumption and mass media spectacle.                            Artists and curators must consider the implications of parachuting                         audiences or should works take place unannounced and take their
      Presented in non-art venues, publicly performed live work is                          work in front of an unsuspecting publics; and realise that some                            chances of gaining attention within the everyday goings on of the city?
often not distinguishable as ‘art’. Indeed, it is often not announced,                      performance practices do not sit comfortably in a public space. There
                                                                                                                                                                                       To document or not? What happens if you miss a once-off live work?
introduced and framed as ‘art’, but rather it is woven into the fabric of                   is often an element of risk with live art practice, which may provoke
                                                                                                                                                                                       The ‘Out of Site’ website aims to address these questions
everyday life. Co-habiting on the streets with shoppers, workers,                           strong responses and even disapproval. When performing in public
                                                                                                                                                                                       ( Clues will be posted as to the whereabouts and
traders, strollers, loafers and other ‘users’ of public space, live art can be              spaces, the potential to provoke strong responses is further increased.
                                                                                                                                                                                       times of the performances and an interactive forum will provide space
presented alongside the daily transactions and occurrences of the                           Thus arises the problem as to how to present work without
                                                                                                                                                                                       for both formal documentation – along with anecdotal reports from
everyday.                                                                                   compromising it.
                                                                                                                                                                                       those who where ‘there’ and questions from those who didn’t make it
                                                                                                                                                                                       to the performances. Arising from this, the site will offer the
Strategies for presenting live work in public places                                        Diverse Audiences?
                                                                                                                                                                                       opportunity to raise further questions and tease out the issues
Often, artists performing in public spaces take on forms or personas                        Anyone who has attended a live art festival using predominantly art
                                                                                                                                                                                       surrounding the relationship of live art to public space.
which are quasi-recognisable within public contexts. These act as a                         venues will vouch for the fact audiences consists largely of students,
                                                                                                                                                                                                                                                                Aileen Lambert
catalyst for audience engagement and are often infused with humour.                         curators and other artists. There is little doubt that presenting work in
Examples would include the adoption of the guise of corporation style                       public spaces allows for engagement with a wider diverse public.
workmen adopted by Maurice O’Connell and Brian Connolly for                                 However, the quality of experience must be considered against                              (1) This phrase was used to describe the work of the performance art group Forced
                                                                                                                                                                                           Entertainment, quoted by Philip Auslander in, Liveness, London, Routledge, 1999.
Untitled, their 1994 work in Temple Bar; or a that of a campaigner                          quantity. Quality depends on the artist’s skills of engagement and the                     (2) Rose Lee Goldberg, Performance Art: From Futurism to the Present, Revised edition, London,
                                                                                                                                                                                           Thames & Hudson, 2001.
distributing leaflets, Michael Fortune for his 1999 work Living Culture,                    audience’s willingness to engage with the work.
                                                                                                                                                                                       (3) Nicholas Bourriard Relational Aesthetics Les Presses du Reel, 2002.
handed out fliers proposing a ‘North Wexford Republic’; and there is                              While the presentation of work in public spaces does indeed offer
                                                                                                                                                                                       Web resources for live art: / /
John Byrne the self styled ‘Border Interpretative Centre Director’.                         the potential for large and diverse audiences, it is often the case that          /
      And of course publics and audiences can also be integral to the                       performances, which are presented in ‘public’ parks or other outdoor                       Further information on ‘Out of Site’ availale at: /

making of the work. Melissa Longenecker’s work Charter and Manifest                         venues only attract the same ‘art gallery’ audiences – the ‘public’ may
involved the artist walking every street in Penzance in August 2006,                        not always present in public spaces.
commissioning people she met along the way to create hand-drawn
The Visual Artists’ News Sheet                                          September / October 2006                                                                                                                                                                                                   9


                                                                                                                                                                                                             The afternoon session ‘Post-graduate Studies and the Gallery
                                                                                                                                                                                                     Space’ moderated by Ciáran Bennett looked at the exhibiting and
                                                                                                                                                                                                     assessing of student work. Brian Maguire, Head of Faculty, NCAD,
                                                                                                                                                                                                     Dublin in his paper Normalizing the Artist described how a growing
                                                                                                                                                                                                     interest site-specific work had seen a departure from the traditional
                                                                                                                                                                                                     model of the artist making work in the private realm of their studio.
                                                                                                                                                                                                     He highlighted the concept of relational aesthetics and the impact this
                                                                                                                                                                                                     was having on teaching and student practice in terms of a growing
                                                                                                                                                                                                     interest in developing opportunities for audience engagement. He also
                                                                                                                                                                                                     emphasised the importance of new technologies and the internet. He
                                                                                                                                                                                                     concluded with a description of various NCAD student projects
                                                                                                                                                                                                     including work undertaken with residents of Cork Street in 2005.
                                                                                                                                                                                                          Bending the Cube: The Gallery as Research Space, was delivered by
                                                                                                                                                                                                     Fiona Kearney, Director of the Lewis Glucksman Gallery, Cork.
                                                                                                                                                                                                     Completed in 2004 and located on the edge of the university campus,
                                                                                                                                                                                                     Kearney described the Glucksman gallery as comprising two white
                                                                                                                                                                                                     cubes, one inserted into the other. Kearney noted that while the gallery
                                                                                                                                                                                                     is autonomous in its programming, it operates as a locus of research –
                                                                                                                                                                                                     being very closely connected to the university. The gallery maintains a
                                                                                                                                                                                                     constant dialogue with students and invited artists and incorporates
                                                                                                                                                                                                     different points of engagement as the core to its education policy.
                                                                                                                                                                                                     Kearney also described how the location of the gallery permitted the
                                                                                                                                                                                                     development of programmes, which enable both student and public
                                                                                                                                                                                                     engagement. She finished with a selection of examples of the work the
                                                                                                                                                                                                     gallery had undertaken since it opened, highlighting the many
                                                                                                                                                                                                     possibilities of this model of dialogue.
(L–R) ‘From Art School to Professional Practice’. Ramon Tio Bellido, General Secretary of AICA; Marianne O’Kane, AICA Ireland Secretary; Miltos Frangopoulus from The Vakalo School of Art and
Design in Athens; Maria Teresa Beguiristain, Professor of Philosophy at the University of Valençia, Spain; Ambroise Tièche, Professor at ESBA/HEAA, L’École Supérieure des Beaux-Arts, Switzerland
                                                                                                                                                                                                             Sam Ainsley, Head of the MFA Programme at the Glasgow School
                                                                                                                                                                                                     of Art presented Do you sincerely want to be Poor? On being an Artist.

Productive Anomalies                                                                                                                                                                                 Ainsley has been running the MFA course since 1990, and noted that it
                                                                                                                                                                                                     is currently so successful that on average there were 700 applications
                                                                                                                                                                                                     for just 20 places. She highlighted the fact that students were allowed
JANE SPELLER REPORTS ON THE AICA ORGANISED SEMINAR ‘FROM ART SCHOOL TO PROFESSIONAL                                                                                                                  considerable independence and that this had resulted in a plethora of
PRACTICE’ HELD AT THE NATIONAL GALLERY, DUBLIN IN MAY                                                                                                                                                multi-disciplinary work. Travel and experiences in a variety of social
                                                                                                                                                                                                     contexts outside of the school were encouraged, as were the
                                                                                                                                                                                                     partnerships with museums and galleries both locally and abroad, for
‘FROM Art School to Professional Practice’ held at the National Gallery                                     Ambroise Tièche, Professor at ESBA/HEAA, L’École Supérieure                              example The Hunterian, Tramway and the CCA Gallery, Glasgow and
of Ireland, Dublin (22 May) was organised as part of the run up to the                               des Beaux-Arts, Switzerland began his paper, Mutating Changes in                                DAAD in Berlin. Ainsley described how students were responsible for
forthcoming International Association of Art Critics (AICA)(1)                                       Higher Education Teaching in Switzerland, with an introduction to                               developing their own projects and for all aspects of organising their
European Exhibition of Young Artists, at La Centrale Electrique,                                     institutional changes in the country. He described how the old system                           own exhibitions including fundraising. She described a number of
Brussels (Nov 2008 – Jan 2009). It was the first of a series of seminars                             of federal institutions had been replaced by 7 major regional                                   exhibitions, which had been realised by GSA students, including
that are being held in the sponsoring countries of Austria, Belgium,                                 universities and that all the schools of fine art had adopted the Bologna                       projects by Simon Starling and Douglas Gordon.
Ireland, Germany, Switzerland and the UK. The Dublin event was                                       reforms (2). The major effect of this being the introduction of new                                     Niamh O’Malley was invited to contribute to the seminar in her
concerned with how colleges prepare students for professional                                        programmes embracing a unique combination of practice and theory;                               capacity as artist. Her paper, An Artist’s Perspective drew on her
practice as artists. Questions were posed such as – how and why do art                               curatorial        and     experimental          approaches;         as     well     as    new   experience as a PhD research student at the University of Ulster,
schools prepare their students to become visual artists? What                                        methodologies and techniques. Like Bast he saw aim of such new                                  Belfast. O’Malley described how the course was equally split between
importance is given to a complementary training in curatorial courses,                               curricula was to prepare artists for a useful role in contemporary                              studio practice and theoretical research. She emphasised the enriching
art history and art criticism? The main subjects of discussion were –                                society. Tièche described the 5 departments in his school and noted a                           experience provided by periods of study abroad – at the British School
the increasing importance of post-graduate studies; the status of the                                concentration on the subject of body/space – media; painting and                                in Rome and the International Studio Programme, PSI MoMA, New
artist on graduating; and the relationship of professional practice                                  drawing; art criticism and curatorship; film. Each area also shared an                          York. She also spoke of the importance attached to an artist being able
studies to the curatorial models and practices of public and private                                 emphasis on practical training, student exchanges and textual                                   to focus on research. In conclusion, O’Malley commented on the need
institutions.                                                                                        criticism; in addition students were given specialised careers advice                           for emerging artists to be made aware of the realities of life after
       The morning session was opened by AICA Ireland President                                      and training.                                                                                   college, and for courses to incorporate a professional practice
Ciáran Bennett. He highlighted the work of the AICA Ireland branch                                       The third paper Art Studies in Spain: From School to University by                          component in order to address this.
in setting up the European Exhibition of Young Artists project, also                                 Maria Teresa Beguiristain, Professor of Philosophy at the University of                                 All in all, an extremely interesting and informative day, which
noting that the 2009 AICA congress would be held in Dublin. This was                                 Valençia, Spain described a major period of change in the 1980s,                                provided valuable insights into European art school education.
followed by a short introduction to the exhibition project by Ramon                                  during which the country’s former art schools became university                                 Whether the European Exhibition of Young Artists lives up to its
Tio Bellido, General Secretary of AICA. Bellido explained the apparent                               faculties. These number 17 nationally, the Escuela San Carlos de Bellas                         promise in terms of providing a contemporary emphasis on the
‘anomaly’ of the project within the context of AICA’s usual art                                      Artes in Valençia, for example, having 2,070 students and 240                                   evaluation and criticism of the curation of visual art, remains to be
criticism related activities, relating it to contemporary emphasis on                                professors. She went on to say that although these faculties now teach                          seen, however it will certainly be a great opportunity for emerging
the evaluation and criticism of the curation of visual art. He described                             a range of studies including art theory, the history of art, aesthetics and                     artists to exhibit along side their European peers. One final word
how AICA had invited the nominations for inclusion in the show of                                    philosophy there remained an emphasis on the technical as opposed                               around the attendance of the day – it was a little disappointing, the
students by European art colleges and that these would form the basis                                to the theoretical. She further noted that while there was some interest                        morning session was particularly poorly attended. One can only hope
of a provisional list from which artists would be selected for the show.                             in new technologies – for example in the schools of The Basque                                  that this was due to the fact that it was a Monday, rather than a lack of
       The first session ‘Checking Specific Contexts’ moderated by                                   country, generally speaking the Spanish tradition in fine arts                                  interest in our European counterparts.
Marianne O’ Kane, Secretary of AICA was dedicated to contributions                                   education was a little insular and lacking in dynamism.                                                                                                                        Jane Speller
on European art school education. Gerard Bast, Rector of The                                              In Retarded Education and Advanced Practice, or Life on the Border,                        NOTES

University of Applied Arts, Vienna, Austria described in his paper                                   Miltos Frangopoulus from The Vakalo School of Art and Design in                                 (1) AICA, The International Association of Art Critics was founded under the patronage of
                                                                                                                                                                                                         UNESCO in 1948-9, with the aim of supporting art criticism in all its forms worldwide. AICA
Facing The Changes of Giving Art a Place in Society the university’s overall                         Athens, lamented at the lack of art school provision in Greece and the
                                                                                                                                                                                                         today, brings together some 4,000 art professionals from 70 countries in the world, with
aim to highlight the engagement of art with society. Bast emphasised                                 fact that the few schools that do exist such as in Athens, Thessalonika                             international conferences taking place most recently in Dakar (2003), Istanbul (2003) and
                                                                                                                                                                                                         Addis Ababa (2006).
the desire to promote discourse between both technical and                                           and in the East of Greece have a very academic emphasis. He noted                               (2) The Bologna Declaration was signed by 31 representatives of 29 EU member states and
theoretical concerns, as well as maintaining an inter-disciplinary and                               that whilst there is an increasing number of new museums and                                        ascension candidates 19 June 1999 and sets out that by 2010 a number of aims relating to
                                                                                                                                                                                                         unify higher education standards and practice across the EU. Key amongst these is that:
international orientation for the school. He went on to describe how                                 galleries, most are closed to current developments in contemporary                                  A system of easily readable and comparable degrees shall be introduced, supported by the
the Kokoshka Archive held within the university had generated a                                      art. Likewise there is also no specific curatorial training on offer for                            implementation of the Diploma Supplement; Higher education course systems shall be
                                                                                                                                                                                                         based on two consecutive cycles: the undergraduate cycle, lasting three years, shall qualify
series of exhibitions and discussed what role the galleries could play in                            artists and academics – leaving most students with no option other                                  students for employment, whereas the graduate cycle shall lead to Master’s and/or
                                                                                                                                                                                                         doctorate degrees; Student mobility and free movement shall be promoted.European co-
terms of stimulating discussion around both gallery based and socially                               than to train abroad, usually the UK or in France. He concluded by                                  operation in quality assurance shall be established. Further information is available at
engaged art practices. In conclusion, Bast suggested that the future                                 describing the very real need in Greece for institutions, which were                      

survival of the university was dependent on its ability to help students                             able to provide a stimulating context, within which young artists
engage with the world in new ways.                                                                   could work, develop and find a sense of community.
10                                                                                                                                                      The Visual Artists’ News Sheet                         September / October 2006


Helping More People Know About the Arts

THE announcement in May that RTÉ Radio 1 are to drop the arts                    documentary on landscape painting of Ireland by Sean O’Mordha. In              says Dunne. “When we started covering visual arts it was like virgin
programme Rattlebag from its daily mid-afternoon slot, sparked a huge            terms of visual arts coverage in the series, a spokesperson for RTÉ said       territory in a way.” When he began working for the Irish Times, “it was
debate. Petitions were signed, letters were written to the Irish Times           that compared to other arts disciplines there is “less visual arts.”           at a time when things were changing,“ says Dunne. “Some people
and urgent meetings were held between the Arts Council and RTÉ                        Radio still plays an important part in Irish culture with an              within the Irish Times were aware of that and were keen to increase
regarding their coverage of the arts. But how do RTÉ and other sections          estimated 85% of people tuning into the radio every weekday. RTÉ               the paper’s coverage of the visual arts.” Dunne adds the decision was in
of the media currently cover the visual arts and what should we expect           claim 43% of the listening population, but they face stiff competition         no way unanimous, but that demand came from the readers. “There’s a
from Radio 1’s shake up?                                                         in the form of local stations, which collectively claim 45% of the             phenomenal response to visual arts coverage and it’s proved to be
     The new plans for the RTÉ Radio 1 autumn schedule include a                 national market. (7) One of these local stations, Newstalk 106, currently      incredibly popular.” Dunne has a busy time of it, covering shows the
popular culture show presented by Dave Fanning from 7-8pm                        broadcasting to the Greater Dublin Area, will go national in the               length and breadth of the country, including the recent graduate
weekdays, with a specialised arts programme filling the weekday 11-              autumn. Newstalk’s Arts and Entertainment Show, airing Saturday                degree shows. “That developed year by year and again was very reader
midnight slot. A spokesperson from RTÉ says the 7pm show is, “aimed              mornings between 10am and 12noon, repeating between 10pm and                   driven, in that the response from the students and people associated
at a wide listenership. Covering popular music and features, this show           midnight, is presented by Sophie Gorman, Arts Editor of the Irish              with colleges was really phenomenal,” says Dunne. “However that
will also place a spotlight on the arts. The aim here is to make culture         Independent. Gorman says of the show, “because we mix things up so             presents huge logistical difficulties and it’s very demanding to do. I
as readily accessible as possible and there is no reason why coverage of         madly and crazily it frees us to throw in a very serious art piece             don’t know if you could continue to do it the way we have done it. It’s
the visual arts cannot and will not be included in the mix.” (1) In an           alongside a live band in the studio.” So what percentage of the show is        kind of done on a wing and a prayer in a way, in that you’re actually
interview on RTÉ Radio 1’s Morning Ireland,               Director of the Arts   visual arts coverage? “There’s no set percentage,“ says Gorman. “It            using more resources than are there.”(12)
Council Mary Cloake said of the 7pm show, “our concern is around the             would be very dependent on what’s opening. It has to be something a                 In terms of readership, the free commuter newspaper Metro,
diversity in programming, the need to make space for the critical                bit quirky or different. If there is an exhibition that I think is going to    claims to be giving the paid-for daily titles a run for their money. The
voice, the unusual perspective…sometimes popular culture doesn’t                 be particularly interesting, I will organise a pre-record where I, or my       paper publishes visual arts reviews every day. “Our arts coverage is
include these alternative perspectives.” She added that this may                 producer, will go out, wander around the exhibition with the artist or         unparalleled in the Dublin market,“ says Metro Arts editor Paul
happen on the proposed arts show at 11pm, but, “we’re looking at                 curator and get a feeling for what’s going on in the gallery.” Gorman          Connolly. “We devote three full pages a day to the arts. Consequently,
reduced listenership of 100,000 people.”                                         says the show’s listenership is quite young, “essentially they’re all          our coverage of the Dublin visual arts scene is second to none.
     At the time of writing this article, RTÉ were still finalising the          waking up. That’s why the tone is quite light, we have to take into            Obviously, visual arts offer us the opportunity to bring colour and
format of the new 11pm show, but did reveal that the presenter will be           account the fact that it’s Saturday morning.” The listeners at that time       sparkle to our pages.”       Connolly says that compared to other
Macnas founder, Padraig Breathnach. A spokesperson from RTÉ says,                of the day, says Gorman “don’t want a big late night review style              newspapers, Metro’s visual arts reviews are, “more accessible, more
“it is anticipated that this later time will give the show the ability to be     debate. You’ve got to plan it out so that they are warming up to the           thorough,” and, “give the artists a louder voice. If we hate something
first with opening night reviews, delivering the verdict of both experts         day.”(8)                                                                       we’ll tell our readers. We don’t pussyfoot.” (13)
and audiences.” The concern of many, including the Arts Council, is                    The Irish Independent is Ireland’s best-selling newspaper,                    Of the Sunday newspapers, The Sunday Times is unusual in that
that most of the potential audience will be asleep. “After 11’ o’clock           claiming 17.4% of national readership compared to 10.2% for the Irish          it presents both UK and Irish visual arts coverage in its Culture Ireland
most people are in bed,” agreed a seemingly caught off guard Adrian              Times and 7.9% for the Irish Examiner. (9) Both the Irish Examiner and         section. Whilst Christin Leach covers Irish shows, Waldemar
Moynes, Managing Director of RTÉ, in response to Cathal MacCiolla’s              Irish Times have dedicated arts pages, but how much coverage do the            Januszczak’s reviews of UK shows are also included. “Visual art tends
questioning on Morning Ireland. (3) “So what is the point of having a            arts get in the Irish Independent? “In very recent times we have               to get as much coverage as other arts in Culture, if not a bit more,” says
programme on after 11?” asked MacCiolla. “Well because it’s not the              increased the amount of arts coverage by a hundred fold,” says the Irish       Michael Ross, Culture Ireland editor for the Sunday Times. So what
only show that’s on,“ replied Moynes. In an article published in the             Independent’s Arts Editor Sophie Gorman. The changes at the                    readership are they aiming at? “Ideally it should cover all bases and be
Irish Times on June 22 2006, Moynes says, “there is room for a                   Independent have much to do with Gerry O’Regan who replaced                    accessible to the broad readership while also offering something to
specialised arts show – one that enhances our ability to be edgy,                Vinny Doyle as editor in 2005. Since then, the paper has had “much             those with a specialised interest.” Ross adds, “if there is a notional
innovative and challenging. It will go to air at 11pm and like most of           more appreciation and understanding of the broader arts but also of            reader…it’s just an intelligent person with a natural curiosity.” Shows
the schedule, it will be there on the internet, free-of-charge and               the visual arts,” says Gorman. The Independent is now printing arts            in Dublin are covered more frequently, “partly because of logistical
available when it suits the individual listener.”                                reviews every day and of the visual arts Gorman says, “we’re getting           reasons but more because one third of the population lives in the
     Moynes’ complaint is that the changes to RTÉ Radio 1’s schedule             them in too.” Gorman adds that visual arts pieces are also making it           general vicinity of the city,” says Ross. The shows that get covered are,
are being viewed in isolation by the arts community. He may have a               into the Weekend Review section. “There certainly is more of an outlet         “simply those who look most interesting.” So how has coverage of the
point. In 2006 RTÉ Radio 1 also broadcast two visual arts series – Eye of        for the visual arts,” says Gorman. ”Up until now, it has been incredibly       visual arts in the Sunday Times culture section changed over the
the Mind, and Eye Candy. Another radio programme forgotten in the                neglected. I’ve been working in the arts in the Indo for almost 11 years       years? “Coverage of any area of the arts is determined as much by the
furore surrounding Rattlebag is RTÉ Lyric FM’s Artszone, launched in             now and getting any kind of coverage, be it for any art form, has been a       quality of the available writers as by the merits of the art,” says Ross.
1999. The hour long programme, presented by Aedín Gormley airs                   struggle, but the visual arts has been the hardest struggle.” So why has       “The reality is that most of those writing about the arts are not very
Thursdays at 7.30pm repeating Saturday at 5pm. Artszone producer                 the visual arts been as Gorman describes, “bottom rung”? “People               good. I struck oil when I came across Christin Leach a few years ago…if
Olga Buckley says, “Artszone aims to provide a space for comment on              dismiss it as being elitist,” says Gorman. “There is this generalisation       I didn’t have a good visual art writer, I’d by necessity have a lot less
topical stories and the perennial questions that emerge in the arts and          that the general reader is not going to be interested in the goings on in      coverage of the area in the section.” (14)
cultural life and to bring new angles to arts coverage.” Aiming at a             a tiny art gallery. There is wariness in covering the arts because the             On the face of things, it would seem that there is more visual arts
cross section of listeners the show covers, “specialist areas whilst also        editor would be understandably and rightly nervous about losing a              coverage within the Irish media, but is there more critical debate?
giving the ‘non-specialist’ an introduction and insight.” So how does            potential readership.” Of the latest developments in visual arts               “There is still the tendency from Irish newspapers to look for the spin
the amount of coverage devoted to the visual arts compare to that of             coverage at the Independent, Gorman says, “I think that’s almost               in the story,” says Aidan Dunne. “To get a consistent level of critical
say music, theatre and literature? “The visual arts have always been             enough for now. I get great feedback on the reviews, people like               coverage is quite a different thing and I think it’s lacking in the general
part of the coverage,” says Buckley, “but the amount has hugely                  finding them there. People read them without thinking, I’m reading a           media context.” Independent writer and critic Gemma Tipton says,
increased over the years.” Buckley estimates it now equals that of other         visual arts review.” (10)                                                      “when people think about critical writing they hark back to this idea of
arts disciplines. “Our coverage looks at the visual arts in a variety of              Ian Kilroy has been Arts Editor at the Irish Examiner for the past        a golden age characterised by someone like Clement Greenberg. That’s
ways, interviews with practitioners, curators, reviewers, books about            two years. I asked him how he thought the paper’s visual arts coverage         seen as an era where critics had the kind of power that perhaps
the visual arts and artists.” She adds that the show has, “a very large          had changed in recent times. “The Irish Examiner is covering more              international curators have now.” Tipton adds that today, “the names
correspondence with artists and visual arts practitioners from around            visual arts since I started editing the paper’s art content,” says Kilroy,     writing have changed, but I don’t think it’s grown. I do wish that the
the country both highlighting events and suggesting ways of covering             adding that in their arts coverage he has “driven the paper towards a          Irish newspaper media had the guts to trust people to read art criticism
local visual arts developments.” (4)                                             national perspective.” Visual arts reviews or articles come out about          at a level that you would get say in the New York Times, or The
     RTÉ’s The View, which has been running since 2001, will return to           three to four times a month and due to limited space concentrate “on           Guardian or Observer.” (15) Philomena Byrne, Head of Public Affairs at
TV screens in the autumn on Tuesday nights at 11.15pm. “The                      the major shows in the major galleries,” says Kilroy. “We also try to          the Irish Museum of Modern Art, describes media coverage of the
transmission time is late, “says a spokesperson for RTÉ, “but it is in           cover some student shows and new names, but space often works                  visual arts as at best “haphazard. There is no sign of an obvious
peak time and on RTÉ 1 – a significant scheduling contribution in                against this latter ambition.” The visual arts are, says Kilroy, “covered      commitment really apart from the Irish Times.”                Patrice Molloy,
comparison with other generalist broadcasters.”(5) They add that in              as much as theatre or music, much more than opera and classical                Public Affairs Executive at IMMA adds, “It’s almost down to one person
the show the visual arts are covered almost as much as other art                 music.”(11)                                                                    taking an interest. It’s very hard to get out of your arts page into your
disciplines. The arts documentary series Arts Lives will return to RTÉ               The Irish Times has a long history of visual arts coverage, a daily,       news page and that makes all the difference in terms of getting people
in 2007. “Spending on arts output in television factual programmes               dedicated arts page and its own equally dedicated visual art critic in         up here.”(17)
has risen substantially between 2002 (pre license fee increase) and              Aidan Dunne. I asked Dunne how he thought visual arts coverage in
2005,” says a spokesperson for RTÉ. (6) Confirmed for 2007 is a                  general has changed over the years. “I think it’s changed incredibly,“
The Visual Artists’ News Sheet                                             September / October 2006                                                                                                                                                                                                        11

RESEARCH: VISUAL ART & THE MEDIA                                                                      APPRECIATION

       So what is the result of coverage in the general media? Mark
Cullen, co-founder and director of Pallas Studios in Dublin says, “it is
very important for the health of our organisation and the art scene at
                                                                                                     Noel Sheridan
large to increase its general profile, position and importance in
                                                                                                     BRIAN HAND PAYS TRIBUTE TO NOEL SHERIDAN
society.”(18) Artist Seán Hillen says, “I think it’s partly to do with what
sort of artist you are. I generally sell into a broader audience. I have a
                                                                                                     “J’attends une chose inconnue/I await a thing unknown” Stéphane Mallarmé (1867)
regular small income from my print sales…and that’s the general
audience and with them you want a general level of visibility.” (19) Kevin
                                                                                                     “I think possibly the only social virtue that painting has is that it won’t jump off the wall and do one a physical injury.” Noel Sheridan (1967)
Kavanagh, Director of the Kevin Kavanagh Gallery in Dublin says that
media coverage, “has a big impact. Any time this gallery has featured on
The View, it’s been very big. And the same with reviews where there is a                                                                                                                                        away from one’s own skeleton, but there are artists on both sides of the
nice big colour reproduction or a substantial review in the papers,                                                                                                                                             world who feel that this is one of the most important issues with
particularly the Irish Times or the Sunday Times culture section, you                                                                                                                                           which to engage their art practice”.(2) In an interview at that time, Said
get more people ringing up and coming in.” (20) One thing that is certain                                                                                                                                       challenged himself in away that I feel strikes a cord with Noel
is that competition for media coverage is intense, with more visual arts                                                                                                                                        Sheridan’s practice, “I seem to be in a position of saying about various
spaces, exhibitions and events than ever before.                                                                                                                                                                critical or political projects, well, they’re doing this right, but they
       The scrapping of Rattlebag may have been the catalyst for the                                                                                                                                            aren’t doing that part right. I don’t want to seem to go through ticking
debate over arts coverage in the media, but Olive Braiden, Chair of the                                                                                                                                         off what’s good and what’s bad… I’m really much less certain than
Arts Council says, “the implications of this debate go well beyond                                                                                                                                              perhaps I give the impression, much less certain about what I’m doing
scheduling changes in RTÉ Radio 1.”(21) A report commissioned by the                                                                                                                                            and my whole enterprise… I’m often concerned that I’m simply dipping
Arts Council on the arts and broadcasting in Ireland is, at the time of                                                                                                                                         into certain formations, certain moments of culture and political
writing, in the preliminary stages of development. A policy, expected to                                                                                                                                        experience, and I really do view what I am doing as a suggestion for
be adopted in the autumn, will cover such issues as ensuring that, “the                                                                                                                                         others to help in, or provide me with ways in which I might go. The
arts reach the widest audience possible across the full range of                                                                                                                                                one thing I want to resist is the idea of a finished project.”(3) Noel’s
broadcast production,” and how digital technologies can be “harnessed                                                                                                                                           hilarious accounts of making his 1976 film/installation Keep this
to benefit the arts.” (22) In terms of internet coverage in Ireland of the                                                                                                                                      bastard moving in his later performance Not Waiting do not deflect from
visual arts, Circa Art Magazine currently leads the way with their                                                                                                                                              the post-colonial critique of Australian culture that is present in this
website which has been online for over six years.                                                                                                                                               work – quite simply he was ahead of his time.
Peter Fitzgerald, editor of Circa says, “we took the decision early on that                                                                                                                                           While his death draws questions of what might have been for an
as many Circa texts as possible should go online, free. The web articles                                                                                                                                        artist of his renown to make new work and arrive at new insights in his
and reviews are intended to extend what Circa can do, as there is only                                                                                                                                          retirement from academic life, he has left behind many remarkable
so much space in the magazine. An article or review in the magazine                                   Carey Clarke Professor Noel Sheridan, Director of the National College of Art and Design 1980 - 1989;     works catalogued and described in his monograph Noel Sheridan On
                                                                                                      1994 - 2002, Director of Perth Institute of Contemporary Art 1989 - 1994. Oil on canvas 40 x 36 inches.
carries more kudos, but those online can reach a global audience.”(23) It                                                                                                                                       Reflection (Four Courts Press, 2001) and his intriguing and entertaining
is perhaps unfair to compare a specialist visual arts magazine’s online                                                                                                                                         retrospective of older work (some of it specially re-made) at the RHA in
content with that of the daily Irish broadsheets, or RTÉ for that matter,                            ON Saturday the 24 June 2006 Noel Sheridan created a performance                                           2001. As Ian Hunt commented on the show [Sheridan’s] “ return to
but as Gemma Tipton points out “given that newspaper art writing isn’t                               called Talking at The Kurb Gallery Northbridge, Perth, Western                                             painting is so toe-curling in its peculiarity – it is a performance piece-
ephemeral anymore, it’s searchable and archived on the Internet,                                     Australia. It was a re-working of performance about his father, the actor                                  that actual doubts about the grip of art on your life, on any one’s life are
there’s also space for it to actually form a bank of discussion.” It seems                           comedian, Cecil Sheridan called The Head with bits of Not Waiting a                                        mobilized. Respectability has it seems been postponed again, as though
to work for The Guardian in the UK, whose commitment to arts and                                     celebrated performance from 1998. 18 days later he died at the                                             to scare off those who might be ready for some of the early works”.(4)
visual arts coverage on continues to grow. Most                                   relatively young age of 69. An online reviewer described how the                                           Indeed, I feel the RHA retrospective did not garner the critical attention
recently the Guardian introduced podcasting onto their website                                       performance displayed “Sheridan’s own commitment to 60’s avant-                                            it fully deserved at home, perhaps IMMA might consider a more in
including a weekly arts and entertainment show.(24)                                                  gardism merging into a real time discovery of the generosity and                                           depth show in the future? Certainly his work should be covered on
     Just as the internet has not replaced the newspaper, it is unlikely                             optimism that must stand at the centre of all living art”. To the end,             (1)                     every course that aims to teach Conceptual Art. The work that I have
that podcasts will herald the demise of radio and TV scheduling in                                   Noel Sheridan was wonderfully consistent – always an optimist and                                          seen of Noel Sheridan’s lives strong in my memory, because his work
Ireland. Whilst it is advantageous that a specialised radio arts show also                           always concerned for the values of art to be generous and free. His                                        was of real quality and was an imaginative, well observed and
be available to download, that fact should certainly not be used as an                               death in Perth, with his loving family gathered around him, was I hope                                     intelligent meditation on assumptions about art and life, art and
excuse for late scheduling. Integration of the arts into mainstream                                  a peaceful release from the pain of his disease. His life in Australia was                                 politics.
programming is just as essential as a dedicated slot devoted to the arts.                            in its third chapter, as he was there in the 1970s for eight years as                                            At the end of the performance Not Waiting at Project at the Mint in
A specialist arts show will not survive in this era of high competition                              lecturer and director of the Experimental Art Foundation in Adelaide;                                      1998 I remember Noel did a very eerie thing – as he named all his props
without attracting new listeners from the mainstream, even if it is in                               and again in the 1990s for five years as the first director of the Pert                                    on the stage in his low hushed distinctive voice, the audience went still
the ‘graveyard’ slot. Head of RTÉ Radio 1, Ana Leddy’s assertion that one                            Institute of Contemporary Art.                                                                             and silent; he then started to try to directly engage with the audience
of the stations aims is “to help more people to know about the arts” (25) is                                For many readers he will be known as the Director of NCAD as it                                     and reach a point of collective concentration that would enable him to
certainly a good one. Whether the station pulls off the new changes is                               moved to Thomas St and developed the campus there. From my                                                 finish the piece. He willed the audience to go for it – he was not
yet to be seen. The word from the street is clear – the visual arts                                  experience of NCAD between 1984 and 1989 he was very hands on –                                            threatening or authoritarian, just insistent that a state of ‘not waiting
community want more critical debate and better and more consistent                                   literally, from day one he engaged with my year, he was not afraid of                                      for an ending’ could happen in the here and now, it was his attempt at
coverage at a time when everyone is still awake.                                                     art, or of students and was genuinely supportive of questions about                                        ‘not not ‘waiting, just leaving at the top of your game – and he did it.
                                                                                                     practice. He attended seminars and often goaded myself and others to                                       This would be theatrical and faded if he did it five nights a week for
                                                                           Jaqcui McIntosh           ask more questions, to not let such-and-such a visitor off the hook. He                                    paying audiences, but this was a once off singular event, a once off
NOTES                                                                                                instilled a critical sensibility in a climate of Reagan and Thatcher. Quite                                experiment. Today, much like in the past, the business of art isolates art
                                                                                                     simply he cared deeply about the school, cared about the students                                          and to quote Sheridan ‘smoothes, levels, narrows and closes it down’,
(1) Email correspondence with RTÉ spokesperson, 30 June 2006
(2) Interview by Cathal MacCoille with Adrian Moynes, Managing Director RTÉ and Mary                 (although through many battles about fees he was quite an adversary,                                       but he was never someone to give up, to become impatient or to lose
     Cloake, Director of the arts council, Morning Ireland , RTÉ Radio 1, June 6th 2006. A link to
                                                                                                     despite being an artist he was the management after all) he cared about                                    sight of his desire for art to be intelligent, free and above all generous.
     the full interview can be found at
(3) ibid                                                                                             the work that was made. His vision for NCAD at Thomas Street is still                                      Ni bheidh a leithéid ann arís.
(4) Email correspondence with author, 18 July 2006
(5) Email correspondence with author, 25 July 2006                                                   unrealised, for example, there is still no large-scale exhibition area on                                                                                                               Brian Hand
(6) ibid                                                                                             campus. He kept an eye on us, supported our college theatre company
(7)                                                                                                                                                                        NOTES
(8) Interview with author, 4 July 2006                                                               and settled the bill when Beckett’s estate threatened to sue over our
(9)                                                                                                                                                                               (1) posted by art
(10) Interview with author, 4 July 2006
                                                                                                     production of Endgame, took us to meetings with community groups
(11) Email correspondence with author, 24 July 2006                                                  and watched from a distance the emergence of our reading group. Later                                      (2) Noel Sheridan, Foreword/Introduction to EKKER catalogue published by The City Arts Centre
(12) Interview with author, 29 July 2006                                                                                                                                                                            and PICA Australia, 1991.
(13) Email correspondence with author, 12 July 2006                                                  he would show my work along with fellow younger artists Kevin Kelly,                                       (3) Interview with Jennifer Wicke and Michael Sprinker, 1992 reprinted in Power, Politics and
(14) Email correspondence with author, 8 August 2006                                                 Jaki Irvine, Valerie Connor, Brian Cross, Tom Green and the late Evelyn                                        Culture interviews with Edward W. Said, Ed. Gauri Viswanathan , Bloomsbury 2004, p. 163-4.
(15) Interview with author, 17 July 2006                                                                                                                                                                        (4) Ian Hunt, Letter from Ireland: High and Dry Art Monthly, March 2002p. 34.
(16) Interview with author, 18 July 2006                                                             Byrne, – then operating as a collective called Blue Funk, in the opening
(17) ibid
(18) Email correspondence with author, 18th July 2006
                                                                                                     show at PICA. In the catalogue introduction for this show called
(19) Interview with author, 13 July 2006                                                             ‘EKKER’ he framed our participation quite specifically in terms of the
(20) Interview with author, 12 July 2006
(21) Arts Council statement dated 27 June 2006                                                       late Edward Said’s understanding of colonialism and power in Ireland
(22) ibid                                                                                            and Australia; and finished with a strong manifesto for the common
(23) Email correspondence with author, 19 July 2006
(24)                                        concerns of the new institution. He wrote: “the rethinking of
(25) Deirdre Falvey, RTÉ defends arts policy at awards night, Irish Times, June 1 2006
                                                                                                     historically embedded myths can seem as difficult a task as walking
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The Visual Artists’ News Sheet                         September / October 2006                                                                                                                                                                                        13


                                                                                                                                                                            position from the group they are working with— due to access to
                                                                                                                                                                            aesthetic expression (the power of representation), state funding,
                                                                                                                                                                            institutional sponsorship and so on?
                                                                                                                                                                                  Such work implies a dramatic shift from the textual paradigm of
                                                                                                                                                                            art criticism, the act of ‘decoding’ not really possible in this multi-
                                                                                                                                                                            dimensional practice extended in time. Kester described how this
                                                                                                                                                                            necessarily devalues a pleasure-based response, displacing the
                                                                                                                                                                            ‘intoxicating power’ of the critic or theorist to issue pronouncements
                                                                                                                                                                            from on high, and creating the need for a kind of criticism that is
                                                                                                                                                                            durational, and possibly collaborative in some way; much like the
                                                                                                                                                                            work itself. The principles of immersion, learning and reciprocity
                                                                                                                                                                            promoted by Kester in relation to the artwork would thus be similarly
                                                                                                                                                                            necessary for the critic. In his book Conversation Pieces Kester proposes
                                                                                                                                                                            a new critical framework based on Habermas’ idea of discursive
                                                                                                                                                                            ethics.(7) Like Fitzgerald’s comment above, such an approach would
                                                                                                                                                                            demand the ethical analysis of the ‘real relationships’ that constitute
                                                                                                                                                                            any of these projects, rather than an evaluation of the formal
                                                                                                                                                                            appearance of physical objects.
                                                                                                                                                                                  Crucially, Kester also discussed a need to build a positive and
                                                                                                                                                                            affirmative framework for such criticism: ‘critical’ does not have to
                                                                                                                                                                            mean ‘negative’. However, good causes must be distinguished from
                                                                                                                                                                            good art; this was highlighted by audience members who described
                                                                                                                                                                            how in Ireland there is commonly a risk of overtly positive or
                                                                                             Grant Kester speaking at Pearse Street Library, Dublin. Photo: Jane Speller.   affirmative support of work in community contexts without any kind
                                                                                                                                                                            of criticality. This directly feeds into the rather thorny issue of ‘quality’

Real Relationships                                                                                                                                                          that tends to haunt many community-based projects – which is tied to
                                                                                                                                                                            modernist ideas of worthy art being complex, difficult, and
SARAH BROWNE REPORTS ON A PUBLIC CONVERSATION WITH GRANT KESTER                                                                                                                   In reference to one of Kester’s case studies, Park Fiction, Aisling
                                                                                                                                                                            Prior of Breaking Ground questioned how the skills of the artists
FACILITATED by City Arts, the ‘In Conversation’ event with Grant             outside the gallery walls”. The discussion of these case studies                               involved measured up to professionals working in landscape
Kester at the Pearse Street Library, Dublin (9 June)(1) offered an           concluded Kester’s presentation and opened the way for the audience                            architecture. Kester defended their efforts based on the local
opportunity to encounter and discuss the implications of Kester’s            conversation.                                                                                  knowledge that informed the building of the park, the ownership felt
research into evolving forms of collective and collaborative practice.            A number of issues quickly arose, namely the politics of funding                          as a result, and how well-used the park is to this day. This possible
Kester sees such practices as an emergent ‘paradigm shift’ in                and patronage; the language/ rhetoric of ‘collaboration’; the changing                         slippage in ‘quality’ is directly related to these new forms of practice
contemporary art, describing them as ‘dialogical’, as they propose the       role of the artist and the need to build a new critical framework                              where the role of the artist is not that of a skilled craftsperson or
process of dialogue as aesthetic in and of itself.(2) At the talk he         capable of discussing and evaluating these kinds of projects and                               maker. Rather the skills of the artists Kester is describing typically lie
expanded on this idea by offering a kind of potted art history, moving       practices.                                                                                     in negotiation, facilitation, research, relationship-building: artists can
from the stained glass of Notre Dame Cathedral to Baroque and                     The question of public versus private patronage is perhaps one of                         be ‘context providers’ rather than ‘content providers’. What this
Roccoco periods, the work of Goya along with the development of              the most defining differences between art in Europe and America.                               actually means is not a slippage in quality, but a different way
modernism in the 20th century. He used these examples to discuss the         Concerns over the politics of funding are particularly pertinent in                            altogether of measuring and evaluating where this ‘quality’ lies.
changing relationship of art with its audience – moving from a model         relation to such cultural projects that are often socially ‘useful’, or seek                         The approach Kester takes to framing his argument is firmly
of transmission in order to support the dominant forms of authority,         benefits that allow them to be substituted for effective social policy (6).                    rooted in an art historical context. The currency of modernism and
such as Church or State, to a model of dissent and the emergence of the      John Mulloy proposed that artists are in danger of being used as ‘agents                       community arts were given equal weight in this discussion, and there
individual artist personality. From setting the scene in this manner,        of the state’ due to state-sponsored per cent for art programmes. Artist                       was a clear sense of legitimisation bestowed on the latter as a result.
Kester moved to his main focus, proposing the exhaustion of the              Jesse Jones articulated the need for artists to find ways of manoeuvring                             There were also some ‘useful gaps’ between Kester and the
modernist model of ‘alienation’, where the autonomous artwork                through these funding hoops, in order to find ways of operating                                audience, such as a possible fuzziness surrounding the intricacies of
communicates the unique revelation of the artist, and the style of           through these state processes for ‘purposes of subversion rather than                          contemporary art theory, or the specifics of the Fatima Mansions
address in relation to audience is intended to be ‘correctional’.            collusion’.                                                                                    Regeneration Project respectively. These gaps operated less as barriers
     Kester presented three case studies that he proposes as                      Related to the above was a recurring concern amongst the                                  to dialogue and more as spaces where some room for active listening
emblematic of the new paradigm where the autonomy of the art                 audience in relation to the potential for the language surrounding this                        could open up. The idea of discursive ethics that Kester proposes is a
process is rethought through audience participation or involvement.          kind of practice to be misleading or manipulative in its description                           very useful model for valuing and evaluating a wide range of
Such socially-engaged practices have widely-spread roots, from               and prescription of power relations. John Mulloy described how there                           democratic cultural practices. A very stimulating conversation opened
temporary public projects in the US, to community arts, to diverse           could be a ‘sense of betrayal’ in collaboration, and further how the                           up following Kester’s presentation, aided no doubt by privileging new
forms of cultural activism and the post-Greenbergian set of expanded         term ‘community’ could be used as a State-supervised prescription of                           possibilities of ‘the aesthetic’ rather than simply ‘the visual’. Such an
practices that emerged from the 1960s onwards. These three case              difference. He referred in particular to the term ‘bridgehead space’, that                     open and egalitarian notion of the possibilities of art practice is
studies were: The Park Fiction group in Hamburg, who occupied a              treats any idea of community as enemy, or territory that needs to be                           provocative indeed, and may be more challenging for professionals
piece of public land and designed a park in collaboration with local         conquered. He also contended that there is less grassroots involvement                         within the circle of art to accept than those outside it.
residents; Navjot Altaf, who made a series of alterations to public water    in community arts practice since the professionalisation of the sector.                                                                                                  Sarah Browne
and how it’s accessed by young women in the Indian village of Bastar,        In response, Mannix Flynn proposed speaking of ‘citizens’ rather than
India; and eight Senegalese artists, Huit Facettes, who organised a          ‘communities’, and highlighted the dangers of community arts                                   NOTES

series of festivals and exchanges of craft skills between neighbouring       practice being used as a tool to ‘soften up’ areas for speculation. The                        1. In Conversation: Grant Kester, (9 June 2006) was presented by City Arts & Blue Drum, with
                                                                                                                                                                               the support of Dublin City public Libraries, NEAR fm & the Media Co-op. podcast of the In
villages previously in conflict in their home country.(3)                    instrumental use of culture highlighted above goes hand-in-hand with
                                                                                                                                                                               Conversation with Grant Kester event is now available. :
      There is insufficient space in the scope of this article, nor was      a crafty use of language that can gloss over embedded problems or                              2. Kester, Grant, Conversation Pieces: Community and Collaboration in Modern Art, University
                                                                                                                                                                               of California Press, 2004, p.13. In his book Kester draws a clear distinction between these
there in fact in Kester’s presentation, to discuss each of these bodies of   deny the need to address systemic social inequalities. Sandy Fitzgerald                           kind of dialogical practices and those that are collaborative in the sense of the shared
work in the necessary detail, especially as they deal with very              described the word collaboration as ‘a dangerous term’ now the                                    production of paintings, sculptures, murals and so on.
                                                                                                                                                                            3. More information on these projects, see:;
particular local concerns and rely on a degree of situated knowledge         community arts of the 60s, 70s, 80s have been brought in from the cold                  ;
developed over time.(4) Suffice to say that they shared a number of          by the powers that be. He suggested we instead speak of the ‘real
                                                                                                                                                                            4. Such ideas of ‘connected knowledge’ are recurrent themes in feminist epistemology – Jane
qualities that made them appropriate case studies for Kester’s thesis—       relationships’ that make up such a collaboration; where does                                      Jacobs’ classic critique of modernist urban planning, The Life and Death of Great American
                                                                                                                                                                               Cities, is an indicative example.
these include the participation of the ‘audience’ for the work, an           collaboration slide into compromise or collusion?                                              5. This is however changing, with artists such as Wochenklausur becoming an established
emphasis on process and workshop-based activities, and a complex                  Implicit in the discussion, though largely unexplored, was the                               group on the international museum circuit, and artists Huit Facettes being included in
                                                                                                                                                                               Documenta XI, 2002.
and deeply nuanced approach and understanding of the work’s place            need for a critical and self-reflexive position to be taken by artists                         6. For an analysis of the instrumental use of culture by the UK government see Walker, Una,
                                                                                                                                                                               Moving on from Opportunism, The Visual Artists’ News Sheet, July/August 2006.
and site of reception. Like most forms of community art, the artists and     involved in such projects – who can claim to speak ‘for’ a community?
                                                                                                                                                                            7. Kester, 2004, p.109.
groups Kester is interested in typically receive their primary validation    The case studies put forward by Kester ask what it might mean for an
from the community or co-participants in question, rather than the           artist to surrender the security of self-expression for the risk of inter-
international art world, and largely operate outside this circuit—           subjective engagement and the possibility of a collective authorship.
though the case studies he addresses are global in scope.(5) These are all   What are the ethics of such an exchange, especially since the artist
essentially “positive practices that are directed toward the world           typically is seen to operate from a different economic and cultural
14                                                                                                                                                 The Visual Artists’ News Sheet                                  September / October 2006


Selling Creative Futures
                                                                                                                                                                 Jones stressed the value of rethinking the position of creativity in
                                                                                                                                                           society. He felt that in the future “creativity will be the main currency”,
                                                                                                                                                           and that agencies must be proactive in “overcoming the psychological
                                                                                                                                                           barriers to change”. He cited the dramatic aesthetic transformation of
VAI INTERNATIONAL REPRESENTATIVE MARK CULLEN REPORTS ON THE WORLD SUMMIT ON ART                                                                            the Albanian City of Tirana, instigated by the city’s Mayor Edi Rama –
AND CULTURE, HELD AT THE SAGE, GATESHEAD,WHICH FOCUSED ON CULTURE AND REGENERATION                                                                         who was originally an artist, as a key example of what a pro-active
                                                                                                                                                           attitude on the part of cultural agencies could achieve in overcoming
WE were greeted by the Sage building in Gateshead flexing its acoustic            Robinson noted that in 1800, the global population – urban and           psychological barriers to change. Tirana’s development started simply
might, via a montage movie of all that the Northeast has to offer put to     rural combined was one billion, while it is predicted by 2050 5.4             with the painting of grim communist era housing blocks with riotous
an ethnic rave soundtrack. Things weren’t looking too promising at           billion people will live in cities alone. He warned again that the 19th       colour; and moved onto a major infrastructural development of the
this point, the sound may have been good – but it was at full volume         century educational structures that inform our current business               city. Jones finished on a positive note by stating, “that we all want the
and we had only just finished breakfast. I was here to attend and report     models and social policy are too rigid to be capable of dealing with the      same thing, namely quality of lived experience, and the arts are the key
back on the ‘World Summit on Arts and Culture’ (14-18 June), the third       rapidity of change of contemporary culture. Specifically Robinson was         to providing it”.
such event organised by the International Federation of Arts Councils        critical of the literally ‘top down’ idea of education – with mathematics           One of the workshops available on the closing day was ‘Culture in
and Culture Agencies (IFACCA) – a body set up in 2000 to strengthen          and languages on the top and art and dancing on the bottom –“we get           Crowded Cities’ which featured presentations by Mitsuhiro
the position of cultural policy makers, by creating a worldwide              progressively educated from the knees up until we get to the head then        Yoshimoto, Director of Arts & Cultural Projects NLI Research Institute,
network of information exchange on cultural policy that is serviced by       it moves slightly to one side. The trajectory of education is to produce      and Tokyo on regeneration projects in Yokohama and by Howard
a frequently updated website (1). The event featured 480 delegates from      university professors who live in their heads, slightly to one side and       Chan, the Community Museum Project, and Hong Kong. As Sir Ken
half the countries of the world – 20 of these incidentally being in the      view their bodies as transport for their heads.”                              Robinson had pointed out earlier in the summit, our cities are going to
world cup.                                                                        For Robinson the principle question now facing education is how          get more crowded as the countryside empties and urban populations
     Risto Rouhonen, Chair of IFACCA, introduced some of the issues          to participate and succeed, within in economies that are themselves           swell. In relation to this Mitsuhiro Yoshimoto discussed the
that were at stake at this years event, which looked at the theme of         rapidly changing the systems and technology that they use. Moreover,          development of Yokohama in Japan and the role of its Triennial of Art
regeneration under the title ‘Transforming Places, Transforming Lives’       how do we provide for local identity in a global frame of changing            and the Sakura Art homes project. Paralleling Artscape’s presentation
He stated that interest in cultural policies is growing a wider appeal       demographics, one that transcends ideas of the regional or national?          on the potential of creative clusters and managing projects in order to
outside the arts sector, but with this comes the consequence of              And what strategies can be employed to positively develop our                 bring about a general positive change in atmosphere and use value of
increased pressures of instrumentalising the arts. The chair                 systems both locally and globally?                                            cities spaces. For example The Sakura Art Home projects had
proclaimed culture as a basic right of everyone in a creative welfare             Fundamentally, Robinson argues that education should teach us            transformed ‘one-up one-down’ red-light motels into spaces where
society. Art as an innovative base, he claimed, can be a key tool            about ourselves – what it is to be a person, to feel and understand form,     artists, community and non-profit organisations interact and operate.
plugging into governmental social policy drives. This theme of art and       our bodies and to teach us to creatively engage with our lives; to            Yoshimoto stressed the importance of providing such meeting spaces
culture as an instrument of social regeneration was taken up by many         enhance the quality of lived experience for ourselves and other. He           in the ‘vacancies’ in city real estate. Likewise he thought it vital to
of the speakers throughout the summit. In order to improve regional          claimed that the nature of intelligence lies in webs of significance that     place trust the organizational abilities of artists and non-profit groups
accessibility to creative culture, a plea was made that arts and culture     are diversely spread and integrated between the fives senses. Education       to deliver positive results.
must be included in resource allocation. So the summit got off to a          should also promote our sense of cultural identity and deepen cultural              Howard Chan noted how Hong Kong regeneration has its own
positive, if somewhat polemical start, where the aspirations of the          proficiency and literacy. Alongside this it should develop intercultural,     unique style –whole streets and districts are simply erased to make
chair and IFACCA were clearly articulated.                                   ‘interpolated’ concerns via an understanding of what it is to be global.      way for higher density, higher rise buildings. Chan’s focus was on the
     Peter Hewitt of the Arts Council England related the summit to          Robinson finished by claiming that art and imagination can address            visual ecology of the ‘street’. He spoke about symbiotic and parasitic
the context of Gateshead, a city remarkably transformed by a                 the ideological and ecological crises of our time by making full use of       relationships such as ‘one-dimensional shops’ – vendors that make use
regeneration process that began with a decision to foreground art and        our capacities to feel, think, make and do. Robinson asserted that we         of the doorways of closed banks and larger store, using security
architecture. In the 1970s, the conurbation had turned its back on the       are at an early stage of our spiritual evolution and that the problem is      shuttering as makeshift shelving apparatus and pawnshops
dilapidated and decrepit riverside, with warehouses no longer needed         not that we aim high and fail, but we aim low and succeed.                    inextricably linked to established jewellers, to the extent that space is
as businesses turned away from the port as part of the de-                        Following the keynote presentation we were given the                     included for the ‘squatter’ in the redevelopment of their site.
industrialisation process. Gateshead now has many key landmark               opportunity to attend various presentations by international arts-                  Chan also talked about The Street as Museum project and other
buildings such as the Sage, The Baltic and the Millennium Bridge that        organisations involved in regeneration projects. Jonathon Harvey,             initiatives, which been produced in response to regeneration
serve as positive re-imaginings of the cities identity. Hewitt spoke of a    director of ACME studios in London (2), which provides high-quality,          initiatives in Hong Kong. Chan talked about, his project for Lee Tung
need to connect; and to learn to connect better. This could be manifest      secure, affordable and accessible studio and spaces, gave a presentation      Street, renowned for being the ‘wedding card street’ with its abundance
in modernising relations with government in ways that are “switched          on the relationship of artist studios to regeneration. He noted how the       of small printing shops which was scheduled for complete demolition.
on to artists”. He spoke of the challenges of displacement, migration        situation of studios had changed in England since ACME was set up in          Chan’s project, that he termed ‘social curating’, analysed and
ethnicity and Islamophobia and the unique ability of creative culture        1972. He described in detail the demographics of affordable artist            catalogued images of the street – from doorbells and letterboxes to the
to affect society, in the context of access to culture being no longer the   studios in England, there being some 134 organisations, 197 buildings,        shop signage. Employing a digital photography he constructed a
preserve of an elite and creativity no longer confined to artist. Hewitt     4,000 studios catering for 5,000 artists. We learnt that most of these        complete view of the façades of the buildings, producing two nine
underlined this point with reference to Marshall McLuhan idea of the         spaces were artist initiated and had taken advantage of opportunities         metre wide photographs of the street. The project’s aims were to
“weightless economy” where the “user as creator” engages in varying          arising in the property market, such slum clearances, and the de-             highlight the importance of the immediate environment and to
relationships to the market that shifts with the users desires and           industrialisation of cities, dock closures.                                   empower and encourage creativity and debate among ordinary people,
intents. He cited The Sultans Elephant, a street-theatre performance              He stressed the insecurity of the sector, with only 16% of studios       in order that their voices are heard in the development process. (5)
where one million people turned out to see 40ft elephant puppet being        having permanent claims on their buildings. Harvey recognised                      In his closing speech Risto Ruohonen, wrapped up the
led by a 20ft marionette girl parade through the streets of London as an     current models of regeneration as both an opportunity and a threat,           proceedings with a recap of the various issues that were repeated
example of art directly interfacing with the public on the street; which     along with the familiar problem of art spaces and studios                     throughout the summit. A key issue was the need for the creative
he proposed as a ‘new medievalism’. Hewitt finished his address with a       unintentionally serving as the vanguard of gentrification and                 sector to directly engage with governments and corporations in order
call for policy makers to support more research and development              eventually being priced out of areas they helped ‘develop’. By way of         to elevate the position of culture in resource allocation. Unfortunately
projects, as he believed artist to be social pioneers.                       solutions, he felt that it was important not to place faith in any single     there did not seem to be any ears from these sectors present to bend.
     Sir Ken Robinson delivered the first keynote address. Based in          model of practice –citing diversity of size and price range as indicators     None the less, I was generally impressed with the level of engagement
California he works as an educational advisor, and he spoke                  of a more sustainable and healthy community of art studios catering           of the participants and the quality of the presentations made during
passionately about the key position of creativity in social evolution.       for a diverse range of artists needs.                                         the summit. It is quite stirring to be surrounded by the chief policy
Robinson’s belief is that we are currently working in the framework of            Tim Jones the CEO of Artscape (3), a company based in Toronto            formers who direct the course of cultural development worldwide – all
a revolution in every field of life, with profound implications for          that specialises in ‘Creative Community Building’, talked about               together at once, and witness what seems to a polyphonic singing
workers in the ever-expanding cultural field. However, we were               particular strategic responses to the creative milieu – ones that             from the same hymn-sheet. Yet, as the only artist delegate at this event
hamstrung by our education systems – developed during the 19th               develop both ‘hard’ and ‘soft’ infrastructures for creativity. Artscape       – had been repeatedly described as ‘an anomaly’ amongst this
century industrial era, they are no longer adequate in the face of the       aimed to achieved this through working with planners and                      gathering of policy makers, advisors and administrators; I could not
changing particularities of the 21st century information / service age.      developers, to redesign districts from the bottom up and devising             help but think that the presence of artists was a significant omission.
Robinson stressed the need to get involved in the framing education          ‘creative clusters’ that offer opportunities for a range of cultural uses.                                                                        Mark Cullen
policy within wider social, economic and cultural frameworks. He also             In the Distillery District in Toronto Artscape worked with
noted that technology is transforming culture, with the exponential          developers to set-up two studio buildings with a mix of cultural users
pace of information development increasingly diverse economic and            within a major national heritage site of 44 buildings that was having         (1)
cultural forces are the driving issues of current life – leading to new      difficulty finding commercial tenants. Artscape secured long-term             (3 Further information on artscape can be found at:
phenomena such as ‘digital immigrants and natives’. By way of                leases for the studios at below marker level rents. By demonstrating the
example he mentioned the 97 million users of – a             potential of the area, the 42 other buildings were filled within 18           (4)
significant cultural zone for a particular segment of the worlds youth       months of the artists moving.
population with digital access.
The Visual Artists’ News Sheet                                       September / October 2006                                                                                                                                                       15


United in Art                                                                                                                                                                    Associated Clubs

                                                                                                                                                                                 The United Arts Club is Associated with the following Clubs:
CELEBRATING IT’S 100TH ANNIVERSARY                                                                                                                                               Savage Club,
                                                                                                                                                                                 1 Whitehall Place, London SW3 6EB. T: 0044 171-9308118
                                                                                                                                                                                 The Irish Club,
                                                                                               affiliated with many clubs around the world. Members wishing to visit             82 Eaton Square, London SW1
                                                                                               associated clubs can obtain a letter of introduction from the club                The Sussex Arts Club,
                                                                                               secretary.                                                                        7 Ship Square, Brighton, East Sussex, BN1 1AD.
                                                                                                    The committee carries the election of members out monthly and                The Artists Club,
                                                                                               candidates must be proposed and seconded by the members of the club               5 Eberle Street, Liverpool, L2 2AG.
                                                                                               of three years standing. The club year begins on 1 January and                    Scottish Arts Club,
                                                                                               subscriptions are adjusted accordingly. Subscriptions average around              24 Rutland Square, Edinburgh, Scotland.
                                                                                               €180 per year, but are divided into town and country, overseas and                Glasgow Arts Club,
                                                                                               joint rates. Members resident outside Ireland for twelve 12 months                185 Bath Street, Glasgow G2 4HU, Scotland. T: 0044 141 2485210
                                                                                               continuously may retain their membership on payment of the                        Ulster Arts Club,
                                                                                               reduced subscription.                                                             56 Elmswood Avenue, Belfast.
                                                                                                                                                                                 Players Club,
                                                                                               DISTINGUISHED MEMBERS                                                             16 Grammercy Place, NY 10003, USA.
                                                                                               William Orpen was a member of the Club from 1908-1912. Among his                  Arts Club of Washington,
                                                                                               students were Letitia Hamilton, Patrick Tuohy and Estella Solomons –              2017 One Street NW Washington DC, 20006, USA.
                                                                                               all of whom joined the Arts Club. Arthur Power, artist and friend of              The Arts & Letters Club,
                                                                                               James Joyce and acquainted with the prominent artists in Paris during             14 Elm Street, Toronto, Canada.
                                                                                               the 1920’s and 1930’s was a member of the Club for 60 years.                      Societeit de Kring,
                                                                                                    Sarah Purser must be included in any salute to Arts Club artists             Kleine Gartmanplantsoen, 7-9 Amsterdam, 1017 RP.
                                                                                               for not only was she an outstanding artist, she did Trojan work to                Associazione Artistica Culturale,
                                                                                               promote the work of her contemporaries. She was one of the great                  Piazza del Monte Reggio, Emelia, Italy.
                                                                                               portrait painters of her time, the others being John Butler Yeats and             Circlino de Bellas Artes,
                                                                                               Osbourne. She was enraged when John Butler Yeats’ paintings were                  Calle Alcata, 42-28014, Madrid, Spain.
                                                                                               turned down by the Royal Irish Academy in 1901. Nathaniel Hone’s                  The Doha Club,
                                                                                               work was also rejected. As well as promoting their work she founded               Doha, Quatar.
                                                                                               An Túr Gloine to improve the quality of Irish Stained Glass. She                  The American Club,
                                                                                               founded the Friends of the National Collections to buy new works by               131 MacQuaire Street, Sydney, Australia.
                                                                                               Irish and foreign artists for the public galleries and like Lady Gregory
                                                                                               she campaigned for Hugh Lane’s Gallery and for the retention of his
Illustration by Brigid O’Brien for the Arts Club’s Christmas 1931 dinner and dance, with       paintings here in Ireland.
caricatures of many Club members. (L–R) Sophie Pearce, Mrs Williams (commercial aviator),
James Duncan, Major Bryan Cooper, Sara Allgood, Richard Orpen, Mrs Kennedy Cahill, Conor
                                                                                                    Of all the artists, I believe, the prize for best attendance of the Arts        Oliver decided to return to Dublin and open a gallery to exhibit,
O’Brien (circumnavigator). WB Yeats, Bernard Shaw, Padraic Colum, Lennox Robinson, AE, Harry   Club would go to Jack Yeats. He joined the Arts Club in 1912 and called         promote and sell quality Irish paintings. His friends warned him to
Norman, Mrs Kirkwood Hackett, Tom Casement, Page Dickinson and Mrs Duncan. Image
courtesy of the United Arts Club.                                                              to it nearly every day. He was offered, but declined, the office of             avoid this neglected field. They pointed out to him that at a recent
                                                                                               President of the Club. He was a Vice President of the Club. One of his          auction, a painting of AE’s – George Russell – had failed to sell for
                                                                                               great remarks was “art is nothing without the living ginger in it”.             2s/6d, even when the auctioneer added a coalscuttle to the lot. When
DUBLIN’S United Arts Club was founded in 1907 by Ellie Duncan,
                                                                                                    The Club has been host to some artistic dynasties, one being the           Oliver opened the Oriel Gallery in 1968 he started ‘the art revival of
with the stated aim to combine “the usual advantages of a social club,
                                                                                               Ford Madox Ford / Lamb family. Ford Madox Ford’s son-in-law was the             Ireland’. He opened with exhibitions of watercolours by Percy French
open to both ladies and gentlemen, with features of special interest to
                                                                                               outstanding painter Charles Lamb, an early member of the Club                   and oil paintings by George Russell. Oliver‘s quirky sense of humour is
workers in art, in music and in literature.” Duncan was a connoisseur
                                                                                               whose son, Peadar Lamb, and his wife, Geraldine Plunkett – both                 sadly missed. He greeted new acquaintances with “I’m so glad you have
and critic who wrote on the visual arts and literature and is best
                                                                                               actors, are also members and their son, Peter, is a stained glass artist.       met me!” His parties and salons were works of art in themselves.
known as the organiser of the first exhibition of Post-Impressionist
                                                                                                    Back in the 1960’s there were very few art galleries in Dublin
painting in Ireland, as well as being a campaigner for the return of
                                                                                               when the Artists Group started in the Arts Club. They held solo shows           CENTINARY
Hugh Lane’s paintings to the Municipal Gallery in Dublin. Duncan
                                                                                               and group exhibitions every two weeks in the arts club. They were a             The celebrations to commemorate the centenary of the United Arts
was also notable in her insistence that women members were
                                                                                               great success, particularly for the buyers, for at such low selling prices,     Club will commence in January 2007, with the main focus being to
accorded equal rights to male members – at                         a time when the
                                                                                               the paintings inevitably appreciated. The artists who exhibited with            honour our distinguished founder members. The first event will be a
suffragettes were dying for the right to vote.
                                                                                               the Group received publicity and reached audiences that they couldn’t           re-enactment of the Nine Arts Ball at the glorious baroque chapel and
      Our current mission statement states that the club provides “a
                                                                                               have done without the backing of the Group. One of the shining lights           Great Hall IMMA. The nines arts being literature, music, painting,
centre for people interested in literature, music, painting, drama and
                                                                                               was Robert Ballagh, who is showed his mettle again by challenging the           sculpture, theatre, dance, poetry, rhetoric and architecture – and on
good conversation”. The club holds an art exhibition every three
                                                                                               Government on its delay in implementing the EU droit de Suite / artist          this occasion augmented by film. The sight of carriages, guests in
weeks. Painting classes with Harrie McManus are held every Tuesday
                                                                                               re-sale right directive. Among the other members of the group were              period costume, the sound of great music and the tinkle of champagne
morning. Life Drawing drawing classes are held every Wednesday and
                                                                                               Michael Ashur, Evin Nolan, David Goldberg, Frances Boland, John                 glasses will waft us back to another age!
Thursday night. Artist members may hold exhibitions in the club
                                                                                               Coyle, Charlie Harper, Theo McNab, Arthur Power and Harry Kernoff.                   Lectures will be given on the founder members, including WB
subject to committee approval. Non-members may be invited to
                                                                                                    Artist Patrick Collins was a familiar presence in the Club. While          Yeats, Jack Yeats, JM Synge (2007 being the centenary of The Playboy of
exhibit in the club from time to time. Currently visual artists represent
                                                                                               his presence was regal he had all the graces but none of the airs of the        the Western World), Lady Gregory, Hugh Lane, George Bernard Shaw,
just over 30% percent of the clubs membership.
                                                                                               great artist. He was once asked if he thought Paul Henry was colour             Count & Countess Markievicz, William Orpen, Lennox Robinson,
      Apart from its artistic activities, the club fills a definite place in
                                                                                               blind. He replied – “If he was colour blind then I wish I was too”.             George ‘AE’ Russell and Percy French. A programme of art exhibitions
the artistic life of Dublin and is taken advantage of by members for the
                                                                                                    A former President of the Arts Club, Michael Scott – architect,            has been drawn up especially for the centenary year, including a major
entertainment of their friends. Members whose occupations are in the
                                                                                               actor, painter, collector, poet and great raconteur, like Hugh Lane             sculpture exhibition featuring works by members and non-members.
vicinity find it a convenient place to lunch, while for those going to the
                                                                                               brought international modern art and architecture to wider publics                   What we regard as the most important event is the initiation of
theatre; dinner is at a suitable hour. Distinguished visitors to Dublin
                                                                                               through his work as Chairman of the ROSC exhibitions of the 1970’s              the Arts Club Annual Lectures that have been modelled on the lines of
are regularly entertained in the club and during the winter season club
                                                                                               and 1980’s.                                                                     the great Reith lectures. A high profile speaker will soon be confirmed.
dinners and lunches are held frequently. The club’s premises include a
                                                                                                    Another leading member of the Arts Club, Oliver Nulty, who died            Through these lectures the Art Club will provide a platform for major
larger double drawing room suitable for concerts and gatherings, a bar
                                                                                               recently, played an enormous part in securing recognition for the               figures in the world of theatre, literature, film and music. Further
and lounge and several bedrooms for the use of country and overseas
                                                                                               visual arts in Ireland. In the 1960’s Oliver was working in London              details of the centenary programme will be announced later this year.
members. Meals are served in the beautifully appointed dining room,
                                                                                               when he noticed that painting from most countries in the world could
and rooms may be hired by members for meetings, rehearsals and
                                                                                               be seen in galleries, but,but as he said “virtually none from Ireland”.                                                                  Mary Caulfield
                                                                                               And at the time there was little demand within Ireland for the work of          Further Information from:
      The club is financially self-sufficient and supports itself through
                                                                                               its own artists. Oliver asked the owner of a prominent London gallery           The United Arts Club, 3 Upper Fitzwilliam Street, Dublin 2.
membership subscriptions and the renting out of its rooms to
                                                                                               if he ever handled any Irish paintings and he replied “Oh! Are there            T: 01 6762965 F: 01 6617292
members and other eligible individuals. The United Arts Club is
16                                                                                                                                                                            The Visual Artists’ News Sheet                                    September / October 2006


                                                                                                                                                                                      late 1990s in Croatia. Topic examined both the opportunities and the

Knowledge, Power and Space                                                                                                                                                            problems arising for artists as they open up new spaces of freedom and
                                                                                                                                                                                      expression within the newly created social system.
                                                                                                                                                                                            Anna MacLeod gave the first curatorial presentation of artworks
SUSAN GOGAN REPORTS ON THE SITE-ATIONS INTERNATIONAL CONFERENCE 2006, HELD AT THE                                                                                                     produced for Sense in Place Europe. Each curatorial project had a
MODEL ARTS AND NILAND GALLERY, SLIGO (17 – 18 JUNE)                                                                                                                                   particular theme related to local issues. For example Paco Simon’s
                                                                                                                                                                                      project Agua / Water that took place in Spain, aimed to facilitate a
                                                                                                                                                                                      deeper understanding of society’s complex need for water and to
                                                                                                                                                                                      increase public awareness of sustainable futures in relation to the
                                                                                                                                                                                      transference of water to building sites in Southern Spain. Adam
                                                                                                                                                                                      Klimczak, curator of Sense in Place, Poland, brought the audience on a
                                                                                                                                                                                      visit to the monumental 19th century textile factories of Lodz, where
                                                                                                                                                                                      the site-specific artworks created a dialogue between the city’s
                                                                                                                                                                                      industrial past and its cultural future.
                                                                                                                                                                                            In his writings, Henri Lefebvre expresses concerns about
                                                                                                                                                                                      privileging the local for its ‘concreteness’ – he stresses that we should
                                                                                                                                                                                      understand our links to a wider realm of constantly changing
                                                                                                                                                                                      processes and contexts. The site-specific works produced for Sense in
                                                                                                                                                                                      Place prove that artistic methodologies and practices offer the perfect
                                                                                                                                                                                      means by which to reveal the political and cultural struggles that exist
                                                                                                                                                                                      at a local level, while at the same time working with broader, more
                                                                                                                                                                                      complex        sets    of    philosophical,         sociological,       historical      and
Aigars Bikse 1/10 of Mothers Earth’s Office. 2004. Installation, main cemetery of Riga city.   Eriks Bozis Bench-up. Bench-down. 2000. Installation, Visby, Sweden.                   geographical perspectives. Time constraints only allowed a brief look
“… it is somewhat arbitrary to dissociate the effective practice of                            think about space, outside of the binary way of thinking that still                    at the many great artworks produced for Sense in Place Europe,
freedom by people, the practice of social relations, and the spatial                           characterises much of Western thought. Foucault and Lefebvre’s ideas                   however a publication is promised for the future, which will be a
distributions in which they find themselves. If they are separated, they                       about the production of space were not really taken up until the 1990s,                highly valued and covetable record of this inspired and fascinating
become impossible to understand. Each can only be understood                                   when there was a remarkable surge of interest in a critical spatial                    project.
through the other.”                                                                            perspective that sees space as lived and                          as a dynamic force         Tim Yarnell of the Forestry Commission of England, offered some
                                                    Michel Foucault (1)                        characterised by a constant process of negotiation between the built                   interesting viewpoints on people’s changing relationships with the
                                                                                               environment and its inhabitants. Soja stressed that the spatial turn                   woodlands, once seen as a place of danger and hardship for its
IN an interview with Paul Rabinow, Michel Foucault discusses the                               represents one of the most important intellectual and political                        inhabitants, but now more commonly envisaged as a publicly shared
complex exchanges between architectural projects and how they                                  developments of recent times – spatial practice is instrumental in the                 space of tranquillity. More recently it is a place where people can buy
function as forces of oppression, resistance and liberation. He                                formation of social relationships, political struggle and cultural                     their own ‘plot’ of forest in order to picnic in private without being
emphasises that the intention of the architect is not the fundamental                          identities and as such it is imperative that we politically involve                    disturbed!
determining factor in people’s experience of a project or building, ie                         ourselves in the production of the spaces in which we live.                                  Brendan Bartley discussed the Irish government’s 2002 National
utopian schemes specifically designed to liberate people, cannot do                                  The conference acknowledged the interactive relationship                         Spatial Strategy (NSS) which was introduced to conform to the EU’s
this by their very nature. Moreover ‘liberty’ should be understood as a                        between urban spaces and the natural landscape, and presentations                      European Spatial Development Perspective (ESDP). The goals of the
practice and as such, architecture can only produce positive social                            and discussions shifted effortlessly between the two. Æsa                              latter include: territorial cohesion; the prioritisation of partnerships,
effects when the liberating intentions of the architect coincide with                          Sigurjónsdóttir brought us to the place of ‘nowhere’ – the Icelandic                   negotiation and social inclusion; the promotion of EU cities as global
the real life-practices of people in the exercise of their freedom. (2)                        highlands, which have a long tradition in the collective Icelandic                     centres and the avoidance of economic polarisation. The                                Irish
     Foucault’s observations are now being awarded new currency as                             cultural imagination as a dark, negative place with no myth or history,                National Spatial Strategy primarily aims to address problems of
the importance of the spatial dimension of our lives is being                                  nature’s margin or otherness.                       However, recent controversy        integration, eg. the isolation of the North West of Ireland in terms of
recognised across an extraordinary breadth of disciplines. The Site-                           surrounding the construction of Karahnjukar project hydro-electric                     infrastructure and connectedness to the rest of the country, and to
ations International Conference 2006 held at the Model Arts and                                dam in such a location, has stimulated artists, philosophers and                       develop co-operative planning between Northern Ireland and the
Niland Gallery, Sligo (17 – 18 June), directed by Sean O’Reilly, Director                      scientists to engage with the Icelandic landscape in new ways,                         South. Although coming under some audience criticism for seemingly
of the Leitrim Sculpture Centre, brought together academics,                                   constructing new national identities for these spaces.                                 promoting a global rather than a diverse perspective, Bartley’s
professionals, artists and curators to examine the re-construction of                                With reference to Roland Barthes’ Mythologies, Chris Short spoke                 presentation provided an interesting and very necessary balance to the
space and the reconfiguration of borders, political landscapes and                             about the shoreline and how he seeks to understand the space between                   primarily artistic content of the other talks.
cultural identities. Spatial approaches such as location, place, region,                       the two realms of the ocean and the beach, ie the endless, nameless,                         The role of the artist in the spatial production process arose as a
territory, periphery, urban, landscape and environment were all                                forms and movements of the ocean that exceed and elude                                 key question during the closing panel discussion. Audience and panel
investigated over two days of insightful and inspiring talks and                               representation and the highly representational world of deckchairs,                    opinions swung quite dramatically between positive and negative
discussions within a creative context. Guest speakers included Edward                          promenades and sandcastles.                                                            perceptions of the artist’s future as a real negotiator in the planning
W. Soja, Inese Baranovska, Tim Collins, Æsa Sigurjónsdóttir, Brendan                                 Inese Baranovska gave a stimulating presentation on the                          and production of the spaces and places in which we live.
Bartley, Tim Yarnell, Chris Short and Leila Topic. The conference was                          adoption of scientific and sociological methods by contemporary                              On the positive side Tim Collins, an artist and academic, spoke of
chaired by Fidelma Mullane – a geographer, planner, lecturer, and arts                         artists as a means to integrate art into the public sphere and everyday                his experience directing interdisciplinary projects that affect real
and culture projects consultant and trainer.                                                   life. She spoke about the new dialogue that has opened up between                      change in the material realm. Examples of such cultural initiatives
       This conference was the culmination of a series of international                        artists and the viewer based on social problems such as violence,                      included the removal of a slag heap from a public park and a natural
arts projects that have taken place in Europe and the US over the past                         ecological fears and changing cultural identities. Inese cited Latvian                 riverbank conservation project. Collins adds weight to his social and
10 years collectively entitled Sense in Place(3). The most recent                              site-specific ‘adaptive’ artworks, both in urban and rural contexts, in                artistic concerns by collaborating with teams of scientists and other
initiative ‘Sense in Place Europe 2005-2006’ explored thematic, artistic                       her discussion of the re-construction and re-interpretation of space as a              experts to compile ecological evidence in order to make convincing
and interdisciplinary responses to six ‘peripheral’ locations in Europe –                      means to stimulate the viewer into considering their relationship to                   presentations to local councils and developers. Collins and his team
Reykjavik, Iceland; Sligo, Ireland; Lodz, Poland; Riga, Latvia; Zaragoza,                      life and values in new ways. One particular piece by Latvian artist                    also directed the Groundworks Monongahela Conference a major
Spain and Cardiff, Wales. The curators of each of these projects were                          Aigars Bikse, who took part in Sense in Place in Sligo, resonated on                   exhibition and public exchange of international views on art, ecology
respectively, Rosa Sigrun and Hannes Larusson, Anna MacLeod, Adam                              many different levels – 1/10 of Mother Earth’s Office (2004) is a public               and planning that took place last year at the Carnegie Mellon
Klimczak, Ilse Egle, Paco Simon, Sean O’Reilly and Paul Beauchamp.                             art piece dedicated to burial places that have been lost in the Great                  University, Pittsburgh, (15–16 Oct 2005) (4). Collins argued that the
Alternating with the guest speakers’ presentations, these curators gave                        Graveyard of Riga city. Situated in a piece of parkland, the piece                     artist’s aesthetic perception of complex systems can help us both
presentations on their ‘Sense in Place Europe’ projects.                                       appears as an underground office that has been pushed upwards from                     recognise and address social and ecological problems in new ways. His
       Edward Soja provided the theoretical framework for the                                  underneath the earth, exposing four glass walls and an illuminated                     projects have been hugely successful in affecting change, although
conference in his engaging discussion of the ‘spatial turn’ in the                             functional office. Scrolling on a computer monitor are the names of                    they do require massive funding – which was noted by one audience
human sciences, ie the unprecedented diffusion of a ‘critical spatial                          the deceased people lost in the cemetery. By literally breaking through                member as an obstacle to change. Nevertheless, Collins’ work serves as
perspective’ into a great range of disciplines – most notable in that it                       the surface, this piece exposes knowledge that was unobtainable while                  a great example of the success that is possible when artists move from
challenges the historical as the primary means of interpreting human                           the ‘whole’ was intact – the re-structuring of space has allowed new                   a peripheral position in the planning process to a central one.
social and political activity. Soja explained how through the late 19th                        experiences and relationships with the past to emerge and has re-                                                                                                Susan Gogan
century and most of the 20th century, the development of society over                          formed the identities of those deceased.                                               (1) Michel Foucault.‘Space, Power and Knowledge.’ (1984) The Cultural Studies Reader 2nd Ed.
                                                                                                                                                                                          Ed. Simon During. London and New York: Routledge, 1999. p. 136
time was seen in terms of a dialectical relationship with space – and                                Leila Topic also discussed issues around public art. After the                   (2) Ibid. P. 135
space being perceived as non-active and non-dynamic. In 1960s Paris                            Balkan War several Croatian artists began to produce public art as a                   (3) For further information see
                                                                                                                                                                                      (4) For further information see
however, Michel Foucault and Henri Lefebvre proposed a ‘third’ way to                          response to the instability, poverty and anxiety that characterised the          
The Visual Artists’ News Sheet                          September / October 2006                                                                                                                                                                      17


                                                                                                                                                                                    As a strategy, setting up in London and capitalising on this
                                                                                                                                                                              interest made sense. Instead I went to Liverpool for six months to work
                                                                                                                                                                              on a public art project with industrial slag heaps. Then my wife
                                                                                                                                                                              Síabhra and I bought an old farmhouse in the middle of nothing back
                                                                                                                                                                              in Ireland and buried ourselves for the next years in renovating it. It’s
                                                                                                                                                                              the anti-manual of artistic success.
                                                                                                                                                                                    On coming home Charlie Cullen got me in to cover for David
                                                                                                                                                                              Godbold’s sabbatical year from NCAD and from then on I took on a
                                                                                                                                                                              rash of teaching around the country. At one point working on Monday
                                                                                                                                                                              in NCAD, Tuesday and Wednesday in the Crawford, Thursday in the
                                                                                                                                                                              Burren College of Art and Friday in DIT. I gave up all that in 2002 for
                                                                                                                                                                              one full-time position at Galway-Mayo Institute of Technology.
                                                                                                                                                                              Looking back that my CV – they are pretty lean years artistically.
                                                                                                                                                                                    Without much expectation I put together a show ‘What to Look
                                                                                                                                                                              for in Summer’ in 2003 in the Rubicon. In the way you’d hope from a
                                                                                                                                                                              body of work, it seemed to offer afterwards other possibilities. I was in
                                                                                                                                                                              the midst of exploring these in the studio when the chance came up to
                                                                                                                                                                              do a solo show at the Brussels Art Fair in April 2004.
                                                                                                                                                                                    Again I think I was lucky. It was good work as it goes and a lot of
                                                                                                                                                                              people saw it. Art fairs are like that – numerous small stands piled high
                                                                                                                                                                              with work, but the whole artwork scouring through them – a
                                                                                                                                                                              specialist sort of jumble sale. Offers flowed in from galleries all over. I
                                                                                                                                                                              had to get out an atlas. I guess this was my second chance.
                                                                                                                                                                                    I chose the most immediate and specific offer, with a gallery that
                                                                                                                                                                              seemed good – a solo show that September with Galerie Loevenbruck
                                                                                                                                                                              in Paris. Herve Loevenbruck is well connected in the French art world
                                                                                                                                                                              and does a lot of curating, so various group shows followed also. On
                                                                                                                                                                              the strength of the show in Paris the curator of a museum of
                                                                                                          Blaise Drummond Flowers of Field and Stream (Black Mountain) 2005
                                                                                                                                                                              contemporary art in the west of France invited me to do a show in his
                                                                                                                              Oil, collage and ink on canvas 127 x 167.5 cm

Peaks and Troughs                                                                                                                                                             space, the Musee De L’Abbaye Sainte-Croix. It was the biggest thing I’d
                                                                                                                                                                              undertaken to date and involved a lot of borrowing back of existing
                                                                                                                                                                              work from collections, a couple of months leave from work and a lot
BLAISE DRUMMOND CONSIDERS THE DYNAMICS OF HIS ART CAREER                                                                                                                      of travelling back and forth to France. When the show closed in June
I didn’t exactly plan to be an artist. I went to university in Edinburgh to                                                                                                   some of it travelled to Paris to form the basis of ‘ A Field Guide’ a show
study biology and ended up graduating in philosophy and classical art                                                                                                         at Loevenbruck; and some went to make up the ‘Sous Le Soleil Du
four years later. I didn’t have much to do with art when I was younger.                                                                                                       Nord’ this year at the Butler Gallery in Kilkenny (24 June – 30 July), my
My dad was a doctor and the Christian Brothers in Birkenhead didn’t                                                                                                           first solo show in a public space in Ireland.
have much to do with art either. After university I spent a summer in                                                                                                               Between these things I followed up other requests to do shows
Dublin on the dole and a bicycle – afternoons in O’Neills of Suffolk                                                                                                          with Alice Day in Brussels and Blancpain Stepczynski in Geneva. I’ve
Street with the Irish Times, a pint and sandwiches of white bread and                                                                                                         just finished preparations for a show in September with a gallery in
orange cheese.                                                                                                                                                                Padua. The guy, Andrea Perugi, is very funny and a great enthusiast and
     Later on I was working in landscaping in Boston and had a mind                                                                                                           proposed that the show comprise “jast wan veryy beeg painting” in his
to return to Dublin, but had no excuse. I loved the band The Stars of                                                                                                         pristine hanger-like industrial space. I’m making a sort of wall
Heaven, but they were over – their residency at the Baggot just a                                                                                                             installation of various different elements and creeping out across the
memory by the time I got there. Then someone gave me the address of                                                                                                           floor. An expanded painting, if you like. I started fooling around with
NCAD and I applied with some photos and film things I’d been flirting                                                                                                         the format in the show with Alice Day, prompted by a suggestion of
with. I graduated in painting in 1994, grateful that it was something I                                                                                                       Síabhra in the studio – and I have made a couple since, one currently
could realise on my own. Too shy and unassertive to command a film                                                                                                            in the Loevenbruck show and one in The Commune’s Fish Pond in a
                                                                              Blaise DrummondTree (Repaired for Autumn) 2004
crew. People can tire you out. Being an artist is a good career choice if                                                                                                     group show about drawing in Düsseldorf.
                                                                              Stick, Leaves, Electrical Tape & Blu Tac 38 x 38 x 38 cm approx. (detail)
you like your own company.                                                                                                                                                          Next spring I have a show scheduled with a gallery in LA that I’ve
     Everybody’s creative life has its peaks and troughs. You’re lucky if            I did an MA at Chelsea in 1997. My arrival on the course                                 done a couple of group shows with already and I hope to get another
a deadline coincides with a peak. I hit a stride I think with my degree       coincided with the inclusion of a piece of mine from my first show in                           together with Alice Day in Brussels.
show of bricollage made up of fruit crates, paint, stickers, rubber           the John Moores, a biennal survey show of contemporary painting in                                    I guess I am travelling a lot now, though I’m not that big on
stamps and veneer. After all that I had little idea what to do. I went to     Britain held by the Walker Art Gallery, Liverpool. It was their 20th                            travelling. Sometimes I am lucky that trips co-incide with shows that I
New York and saw a million shows and worked in a gay porn video               anniversary and a big deal. The award ceremony dinner at St. Georges                            might not have otherwise seen (gone are the days with the luxury of
shop.                                                                         Hall (where Echo and the Bunnymen played and across the road from                               time to fly especially to Copenhagen just to see a Robert Smithson
     Back in Dublin I was lucky to get a place in a subsidised studio.        the Empire where I’d first seen the Undertones) attended by the Brit-art                        show) – like a huge Friedrich show I caught in Essen recently.
Back then there weren’t a lot of spaces around. Its accumulated dusty         world – Tracey Emin, Jarvis Cocker, Sam Taylor-Wood, Gary Hume.                                 Unfortunately time constraints often mean that I see little more than
burden of the abandoned oeuvres of former inmates has left me with            Strange to find oneself from Dublin amongst all that – and a thrill.                            the insides of the galleries I am working with, which is less than ideal.
an abiding fear of overproduction. Or put another way, a taste for the        Then Charles Saatchi approached me to buy the painting.                                         On the other hand our children Sonny and Bee have sampled the
concise – fitting the maximum in the minimum; and trying not to fill          Sentimentally I had agreed to sell it instead to the Walker Art Gallery.                        playgrounds and cuisines of Europe and I am getting to see things
up the world with too much more stuff. It also gave me an awareness           A mistake I can repent at my leisure. But it was a laugh. My flatmate                           sometimes at first hand that hitherto I’d only seen in the pages of
of how readily an artwork can slip between worth and worthlessness.           telling me on the way out to the pub that there was a message from the                          books. This autumn we are all going to be actually living in Le
     I made my first solo show out of that space. It was with the             Saatchi Gallery on the phone for me. I assumed he was kidding ‘til I                            Corbusier’s Maison Radieuse in Nantes on the back of a show at the
Rubicon Gallery in 1996, mostly because I used to play football in            heard it in the morning. We danced and cheered around the living                                Musee Des Beaux Arts there that I am taking part in about the
Herbert Park with some of their artists and Peter McKenna who was a           room in our shorts. There were visits to my studio from Saatchi, The                            influence of Le Corbusier on Contemporary Art.
partner in the gallery then.                                                  British Council and the Ikon Gallery. And I did a show with Andrew                                    With all this I am beginning to have to think about how my time
     While I loved living in Dublin through those years I never               Mummery in Clerkenwell, whilst still on the MA. Suddenly there were                             is divided – between family, teaching, the studio and the garden. In the
identified much with the prevailing mores of the Irish art world. I still     other horizons. It was only a few years later when a friend said                                short-term, an Arts Council bursary will allow me to take a day off a
can’t quite fathom why so many students I speak to only seem to think         something elliptically but pointed about second chances that it really                          week the art school for a year and we’ll see how that helps redress the
of art in terms of Ireland. The issues of identity and gender politics of     dawned on me that I’d blown my first.                                                           balance.
the time meant little to me. A show of Jimmy Durham’s at the Douglas                 London was great. I saw a lot of shows and heard heroes like Ed                                                                               Blaise Drummond
Hyde in 1993 or 1994 offered a world of different possibilities. An art       Rusha and Alex Katz talk. I didn’t find the course at the time to be
that was funny and stupid, seemingly offhand yet lyrical and concise.         particularly rigorous or dynamic. Goldsmiths seemed better and                        
                                                                              certainly produced a far more successful crop of artists that year. I did             
It came at the right time. The arrival of David Godbold in painting at
NCAD probably helped too. It’s important to be able to at least imagine       meet Robert Sherrat there though, who is one of the real artists I know
an audience when you are trying to make something.                            and we still talk.
18                                                                                                                                                                                 The Visual Artists’ News Sheet                                       September / October 2006


                                                                                                                                               BETWEEN THE KNOWN AND THE UNKNOWN

Art in The Public Realm

                                                                                                                                               Elizabeth Caffrey & Sean Campbell Between the Known and the Unknown. N15 Bundoran / Ballyshannon ByPass. Photo: John Shiels.
Dara McGrath. Image from the ‘Plantation’ series.                        Carlo Kroon talks to residents of Caltragh housing Estate
                                                                                                                                               The initial ‘calling point’ came via an advertisement                  region and benefit the local artistic community. We
                                                                        where the public could take time out to hear
                                                                                                                                               for the N15 Bundoran / Ballyshannon Bypass                             received great support from all those involved at
                                                                        something a little different from ‘muzak’.
                                                                                                                                               commission in the Donegal Democrat, July 2005.                         the sculpture centre foundry. Simon Carmen gave
                                                                             Hitherto known for his short stories, Jack
                                                                                                                                               We had previously discussed collaborating on a                         us initial recommendations and undertook the
                                                                        Harte was commissioned to write his first novel, In
                                                                                                                                               future project and this seemed like an ideal                           maquette casting. Dave Kinane led the casting
                                                                        the Wake of the Bagger, which reflects on the past,
                                                                                                                                               opportunity given the close proximity of the                           process and carried out all structural welding.
                                                                        and present in rural Sligo and documents the
                                                                                                                                               proposed site to our studios.                                          Martin O’Mahoney provided answers to all our the
                                                                        internal migration to the midlands and to the rural
                                                                                                                                                     Donegal County Council ran the commission                        bizarre queries about all things technical and Anne
                                                                        industrialisation of Bord na Mona. As an interim
                                                                                                                                               on a open submission basis and the project was                         Lewis proved invaluable in terms of administration
                                                                        stage of the commission Jack produced a CD,
                                                                                                                                               advertised nationally. Overseeing the project was                      and costing and so on.
                                                                        Lament for the Birds, which includes some of his
                                                                                                                                               Marie Little the Assistant Staff Officer for the                              As the form ‘out grew’ its surroundings at the
                                                                        Sligo short stories and songs performed by Carmel
                                                                                                                                               Ballyshannon / Bundoran ByPass and Hugh Fox the                        centre it was relayed with support from Tambet
                                                                        Gunning. Jack has also engaged with a variety of
                                                                                                                                               Chief Engineer. They were assisted in adjudicating                     Truu and Brendan Gallagher to a local engineering
                                                                        creative writing groups around the county.
                                                                                                                                               the second stage by artists Locky Morris and Rhona                     firm in Kinlough. Here Michael and Reggie
                                                                             The photographic artist Dara McGrath has
                                                                                                                                               Henderson, along with members from the National                        Connolly provided the physical space and lifting
                                                                        completed a new portfolio of work Plantation based
                                                                                                                                               Roads Authority, Donegal Public Arts Officer, Terre                    we power needed to finally get the piece standing
An RTC Sligo Industrial Design Student works on a listening post for    on the development and the planning process in
Ian Wilson’s project.
                                                                                                                                               Duffy and two local councillors from Ballyshannon                      upright. After two more weeks of welding and
                                                                        Enniscrone and West Sligo. Dara’s work has been
                                                                                                                                               and Bundoran respectively.                                             finishing, the piece was ready to be sited – with the
                                                                        presented to the public on billboards, newspaper
Change and the impact of development are                                                                                                             From the outset our focus was on the ‘living                     invaluable assistance from the N15 site team of
                                                                        advertisements and in a free publication.
possibly        the      most        striking       features       of                                                                          landscape’, particularly an area called Rathmor;                       Eddie Davenport and Michael McHugh. The piece,
                                                                             The Dutch artist Carlo Kroon has engaged in
contemporary life in Ireland. In 2004 Sligo County                                                                                             which lies central to both towns of Bundoran and                       which we entitled Between the Known and the
                                                                        consultations with residents of Caltragh housing
Council launched its new round of public art                                                                                                   Ballyshannon. From this site you are more aware of                     Unknown was craned into position, on Friday
                                                                        estate and the Parks Section of the Borough Council
commissions, entitled, Unravelling Developments.                                                                                               the greater context of South Donegal, North Sligo                      morning, 7 July 2006.
                                                                        on a series of site visits. He is developing plans for a
The title clearly indicates the thematic intention of                                                                                          and Leitrim. Both of us share a huge commitment                            In hindsight there were many issues, which
                                                                        permanent sculpture and light work.
the series to “engage with the idea of change and                                                                                              towards the natural environment and this                               were not ideal. There were delays with the initial
                                                                             Grace Weir has produced a new film/DVD
development as it effects culture, landscape and the                                                                                           commission gave us the opportunity to do                               contract,      as    well      hold-ups       with      payment
                                                                        Upon the Greenfort in Sligo town. She has consulted
built environment”.                                                                                                                            something quite deliberate about turning peoples                       throughout the project. However, having had
                                                                        widely in the area with residents and interest
       Unravelling Developments builds on the                                                                                                  ‘gaze’    towards      the     everyday       their     natural        experience from previous commissions we knew
                                                                        groups. This new work explores the many readings
success of Sligo Arts Office pilot public art                                                                                                  surroundings. We settled on a form which is found                      that such problems, while challenging were not
                                                                        Greenfort has for the people of Sligo as both an
programme, Placing Art. Eleven projects will be                                                                                                in abundance on the site and which clearly                             insurmountable. We faced the problems of
                                                                        historic and recreational site. The work will be
funded in the new series. I am the artist-curator for                                                                                          indicates the presence of the prevailing dynamics of                   extortionate public liability insurance fees – which
                                                                        presented to the public later this year.
the series and devised a curatorial statement to                                                                                               this area – that of a windswept hawthorn tree. By                      VAI helped us with putting us in touch with PJT
                                                                             Christine Mackey was invited to develop a
initiate a call to artists. Working closely with Sligo                                                                                         incorporating a real hawthorn tree and fabricating                     insurance who offered us a policy at a more
                                                                        proposal based on the refurbishment of the town’s
Public Art Officer, Mary McDonagh and under the                                                                                                a ‘reflected’ form in bronze, we wanted to create a                    manageable rate. While everyone we worked with
                                                                        riverside walks and Doorly Park. This commission
supervision of an appointed selection panel, 12                                                                                                kind of arc or bridge engaging the viewer with their                   was highly professional, there was sometimes a lack
                                                                        will involve a new interpretation of these very
artists were chosen and would be invited to make                                                                                               environment both in natural and historical terms.                      of awareness as to the ins and outs of the
                                                                        important natural resources for Sligo.
proposals for one of the 11 commissions (in one                                                                                                Traditionally in pagan belief the hawthorn tree was                    commissioning process. While all the issues were
                                                                             All of these projects deal with the theme of
case two artists will collaborate).                                                                                                            a marker for the festival of Bealtaine / Maytime –                     resolved, doing so proved to be a tedious and time-
                                                                        change or the new in one way or another. They
       The artists’ work in a variety of disciplines and                                                                                       the start of the bright half of the year. Also, the                    consuming process.
                                                                        achieve this in different ways and on a number of
media including, writing, new music composition,                                                                                               hawthorn, having numerous beneficial medicinal                                With the work now finally completed – albeit
                                                                        levels whether that is in the area of new
new media, book production and the visual arts.                                                                                                properties is regarded as a prime symbol of fertility,                 over time and over budget, we are none the less
                                                                        collaborations in the production or presentation of
They are: Dara McGrath, Jack Harte, Carlo Kroon,                                                                                               whereas other references allude to ceremonial and                      delighted and surprised by how beautiful the piece
                                                                        work as in the cases of Ian Wilson, Christine
Christine Mackey, Ian Wilson, Grace Weir, Alberto                                                                                              religious traditions.                                                  appears at each visit – slowly blending more subtly
                                                                        Mackey and Carlo Kroon. Kroon will also explore
Duman, Stephen Hurrell, Nevan LaHart, John                                                                                                           Casts of fossilised rock and petrified wood                      into the landscape as the groundwork scars
                                                                        using new materials in the production of his work,
Langan, Helen O’Leary and Paul Chidester. Artists                                                                                              were taken locally and inlaid into the trees’ textured                 disappear. When it is illuminated at night it looks
                                                                        Dara McGrath, Grace Weir and Jack Harte deal with
are invited to make proposals as funding from                                                                                                  surface. The preliminary elements of the work such                     just as its Irish name suggests, An Sceach Gheal –
                                                                        the theme directly. Change is central to the subject
County Council capital projects becomes available.                                                                                             as life cast moulds and waxes were prepared in our                     the bright or whiten bush. All comments from the
                                                                        of Harte’s book. Grace Weir’s work is informed by
To date six projects are at various stages of                                                                                                  own studios at Belleek and Ballinfull, with the                        local population have been positive and we trust
                                                                        science and contemporary philosophy, while Dara
development or completion.                                                                                                                     larger part of the fabrication process taking place in                 they will take ‘ownership’ of the piece and look
                                                                        McGrath continues his exploration of the new
       The composer Ian Wilson has written and                                                                                                 the Leitrim Sculpture Centre at Manorhamillton.                        after it in the coming years. Our aim with Between
                                                                        Ireland in his Sligo work.
recorded new music with ancient haiku texts                                                                                                    The use of the centre was invaluable as the nature                     the Known and the Unknown is that through local
                                                                             I’m looking forward to the completion of
translated from Japanese by Sam Hamill, performed                                                                                              of the project was very much hands-on; each of us                      community and wider general public’s interaction
                                                                        these projects and how the other artists on the
by Natalie Raybould, soprano with the RIAM                                                                                                     was involved at every stage of the work’s                              with the piece, interest will be re-activated in the
                                                                        panel Alberto Duman, Stephen Hurrell, John
Percussion Ensemble The project titled Pieces of                                                                                               development. Extra help was gained from the                            traditions associated with the native Irish
                                                                        Langan, Nevin LaHarte, Helen O’Leary and Paul
Elsewhere is available on CD. Three listening posts                                                                                            skilled artist community working within this                           hawthorn tree and its connection to the living
                                                                        Chidester will respond to the commissions as they
designed and built by Industrial Design students of                                                                                            region. We strongly believe that as much as                            landscape.
                                                                        arise in the next two years.
the Institute of Technology were temporarily                                                                                                   possible, all revenues from the percent for art                                       Elizabeth Caffrey and Sean Campbell
                                                                                                                                     Joe Lee
installed at various public locations in Sligo town                                                                                            commissions should remain in the appointed
The Visual Artists’ News Sheet                                        September / October 2006                                                                       19

ART IN THE PUBLIC REALM                                                                                                                       THE DOMESTIC GODLESS


                                                                        Art@Work’ is an annual initiative of Roscommon
                                                                        County Arts Office, which places a number of
                                                                        artists on three-week residencies with local
                                                                        businesses. Artists utilise the opportunity to either
                                                                        make artworks using the materials and processes of
                                                                        the company or to otherwise respond to the
                                                                        environment, staff and working practices. The arts
                                                                        office describes the project as “bringing artists and
                                                                        the making of art closer to the public – but it holds
                                                                        equal benefits for artists, management and staff”.
                                                                        This year’s ‘Art@work’ artists and participating
                                                                        businesses were Dennis Collins, Ros FM; John Daly,
                                                                        Roscommon Herald; Angie Duignan, Molloy’s
                                                                        Bakery; Michael Fortune, Roscommon Champion;
                                                                        Garreth Kennedy, FDK Engineering; Pamela Wells,
                                                                        Roscommon Fire Service. An exhibition profiling
                                                                        these projects was held at Roscommon Arts Centre
                                                                        (20 July – 12 August).

Michael Fortune


                                                                        Chris Wilson’s Global Journeys was one of two
                                                                        commissions awarded through open competition
                                                                        by Down District Council for the new promenade
                                                                        development         at     Newcastle,        County        Down.
                                                                        Wilson’s work comprises 2.5 metre diameter
                                                                        mirror finished stainless steel globe mounted on a
                                                                        Mourne granite base with a bronze surround
                                                                        depicting swimming salmon and the main
                                                                        compass points. The piece was developed by the
                                                                        artist through a series of workshops conducted
                                                                        with local school children in December 2005. The
Chris Wilson Global Journeys. Newcastle, Co. Down.
                                                                        other work commissioned for the promenade was
                                                                        Cone of Light by Robert McColgan.


‘Make Your Move’ (11 August – 9 September) was
an exhibition presented on five billboards
throughout Dublin city – at the Project Arts Centre,
Cuffe St, Essex Gate, Tara St and Townsend St.
Curated by Gavin Delahunty for the Project Arts
Centre, the show featured images by Shannon Bool,
Öyvind Fahlström, Ferdinand Kriwet, Garrett                              Didier Rittener The Family, 2006 Joining of various drawings.
Phelan and Didier Rittener. Delahunty described                          Printed, 60 x 120 inches Courtesy Evergreene, Geneva

‘Make Your Move’ as seeking to “engage directly
with audiences during the course of their daily
lives” and to “highlight the importance of
subjective, marginal and nonconformist thinking”.
Generous support for the exhibition has been
provided by Gillespie Screen Print and Irish Poster                     Öyvind Fahlström ESSO-LSD, 1967 Manufactured plastic signs
                                                                        © Sharon Avery-Fahlström, 2006.


                                                                        Since 1998 the Sculpture at Kells outdoor art
                                                                        exhibition at Kell’s priory, Kilkenny has fused the
                                                                        ancient      monastic         site    with      the     work     of
                                                                        contemporary artists. This year’s show (12 Aug 06 –
                                                                        21 Aug) curated by Pauline O’ Connell and Anne
                                                                        Price Owen featured a range of works addressing
                                                                        how the past impinges on the present and focusing
                                                                        on issues such as
                                                                              labour, leisure, consumerism, tourism, travel
                                                                        pilgrimage and historical iconic figures. The
                                                                        participating artists were Michael Warren, Tom
                                                                        Fitzgerald, Walker and Walker, Tina O’Connell,
Tom Fitzgerald My Father’s Saw. Limestone
                                                                        Kathlyn O’Brien, Iwan Balla, Helen Jones, Lois
                                                                        Williams, Craig Wood and Paul Jeff & Richard Huw
                                                                        Morgan. There was also a display of the ancient art
                                                                        of bronze casting by Umha Aois on Saturday
                                                                        August 12 and Sunday August 13.
20                                                                                                                                                      The Visual Artists’ News Sheet                         September / October 2006


In the Studio                                            ARTISTS DISCUSS THEIR STUDIO FACILITIES
                                                         THERE are many types of studios and artists use studios in many different ways. The industrial workshop, the office, the spare room at home, the collective, the
                                                         retreat in the country, or the laptop computer – these are all places where artists make and think. Throughout 2006 Visual Artists Ireland will use the Visual Artists
                                                         News Sheet to look at and consider the different ways in which artists use the studio, the type of studios they use and what they use them for. We are also interested
                                                         in the problems and difficulties artists experience in relation to their studios. Access and availability, resources, security, health and safety, insurance, expense,
                                                         location, tenure, these are all familiar concerns in relation to the studio. If you are interested in contributing to this discussion then please contact us.

Claire Halpin: Stoneybatter Studio, Dublin.
                                                         “STONEYBATTER Studio was founded in June 2000                   to concentrating on my own work (after I’ve                lease was up and a new lease was not forthcoming
                                                         with the intention of creating a group studio that              finished writing this) for a solo exhibition in The        without a major rent hike. Eventually with some
                                                         provides       a     permanent          and   creative   work   Basement Gallery in Dundalk in October. I tend to          months legal wrangling we got a new similar sized
                                                         environment,           allowing         the   personal    and   spend a lot of time in the studio, 6 days a week and       unit for same rent for a four year six month lease (so
                                                         professional development of a number of artists to              usually long days at that. I love working in my            technically we will have had fixed rent for nearly
                                                         produce quality works of art. On achieving this, the            studio and find there is always something to be            ten years). The studio was broken into recently and
                                                         studio entity would be used to promote the work of              done and more to do after that. It is very much a          equipment was stolen and we were left with a
                                                         the resident artists through exhibitions, including             working and thinking space. And yet sometimes              general feeling of insecurity. It highlights the
                                                         an annual exhibition at the studio premises” – this             after a long day struggling with a painting, the           precarious situation of artists in studios in rented
                                                         is a quote from the original mission statement of               solution will come on leaving the studio on the bike       premises and the problems faced with leases,
                                                         Stoneybatter Studio and all told it still remains true,         on the way home.                                           landlords and insurance.
                                                         although the artists have changed. The studio is in                  As with any artist there is a lot of time juggling.        On 30 September Stoneybatter Studio is
                                                         an old mill in Stoneybatter, one of the oldest areas in         In my case I have two part-time teaching jobs, an          participating in the first ever citywide studio open
                                                         Dublin city. Since the studio set up in the building,           exhibition co-ordinator job and commissions and            day in Dublin involving Temple Bar Gallery and
                                                         other studios such as Brunswick Mill, Button Facto,             then there all the associated meetings. So actually        Studios, Broadstone Studios, Fire Station Studios,
                                                         Pallas and Visual Arts Centre, have set up with that            getting a concentrated period of time in the studio        IMMA, Pallas Studios, Brunswick Mill, Button
                                                         result that there are now nearly 30 artists working             to focus purely on my own work can be difficult –          Factory Studios and Red Stable Studios.
Claire Halpin’s studio at Stoneybatter Studio, Dublin.   in the building. This all lends to a good community             but then again the part-time jobs bring income. I
                                                         of artists, creative environment and source of                  have finally achieved the lucky position where I                Claire Halpin’s is a founder of Stoneybatter
                                                         information and opportunities.                                  enjoy the part-time jobs and they are all art related.       Studio. Her exhibition opens at The Basement
                                                                What am I up to at the moment? I have just                    An ideal studio would be one with both                                   Gallery, Dundalk 12 October.
                                                         completed four large canvases for a commission for              security and guaranteed tenure. In the last year we
                                                         Carton House in Kildare and so am looking forward               were faced with a situation where our five-year

Damien Duffy: Void Studios, Derry.

VOID has five studios, measuring approximately 3 x
6m. All are new-build and finished to the same high
standard as the gallery spaces. The studios have
pristine white walls, buffed concrete floors, are
centrally heated, lit by three strip lights with
diffusers; and each studio has a window at one end.
The studios are accessible on a 24-hour basis.
       An exhibition space for the studio artists is
located in the corridor leading onto the studios – it
is accessible to the public during openings for
exhibitions at the main Void galleries. An open
studio is held twice a year, giving the public access
to the artists and their work.
       I was renting a space at Void, but in September
I begin the Void’s residency programme, which will
last for one year.
       A series of seminars has been planned for
September, which will offer the studio artists a
platform for discussing the ideas and concerns
within their work along with the wider field of art
practice and theory. This coincides with the             Damien Duffy’s studio at Void, Derry.

beginning of Void’s artist in residence education
programme called ‘Void Artscool’ which comprises         occasionally use my space at home, working
a year-long pre-foundation curriculum enrichment         informally on smaller pieces.
project for up to 8 A level students. The course will           I’m here in the Void space a lot, as I find it a
include tutorials and seminars tied into the Void’s      good space for research and thinking work through.
exhibition programme. ‘Artscool’ also includes a         Given the time consuming nature of painting, I am
primary school programme in the form of ‘Void            often working here at Void late into the night. The
Comix’.                                                  seclusion the space affords gives a real sense of
       I am currently working on a series of paintings   detachment and ‘incubation’ of sorts.
that I began in December 2005. In February this year            It is a first for Derry – a gallery with studios
I showed four of these in the Context Gallery. I am      attached. The Orchard Gallery was a great space, it
in studio five, here at Void, although now that I am     but never had the resource of studios, so in that
here on a residency basis, I may move into the rent-     respect Void is a major move forward for the visual
free space in September, which is larger but lacks       arts in the North West.
natural light.                                                                                          Damien Duffy
       Previously I’d been working at home for some
time, so it’s a relief to have a new workspace – and a
separation of work and home life. Although I do still
                                                      The Market House Monaghan
DOWNSHIRE HOUSE                                       Celebrating 25 years of the Tyrone Guthrie Centre,
                                                      Annaghmakerrig, Newbliss, Co. Monaghan

GA L L E RY                                           This exhibition will include some of the Centre’s valuable art collection and artefacts.
                                                                                                              15 Aug - 20 Sept, 2006

                                                                                                              Opening Hours
                                                                                                              1- 5 p.m. Tues - Sat
                                                                                                              (or by appointment)
                                                                                                              T: 047 38162

                                                      Eileen Maher                          U BLOW ME AWAY
                                                                                            new works on video

                                                      Offaly County Council                 4 October-3 November
                                                      Aras an Chontae, Tullamore
                                                      Mon - Fri, 9am-5pm
                                                      Sinéad O'Reilly, Arts Officer,
       Request for Portfolio Submissions:             Offaly County Council, Aras an
 The Downshire House Gallery, Main St, Blessington,   Chontae, Charleville Rd,
                                                      Tullamore, Co. Offaly
                                                      T: 0579 357400
                  Include SAE:                        E:
           Bernard Flynn / 045 865199
                                                      still from video clip created in real time in space
22                                                                                                                                               The Visual Artists’ News Sheet                           September / October 2006


                                                                                                                                                         in other words, “the destruction of locality where all your dealings are
                                                                                                                                                         with the city” (Fiona Woods). A project like Ground Up has been
                                                                                                                                                         instrumental in helping its participants redefine the connection
                                                                                                                                                         between their practice and with their chosen place to live. A more
                                                                                                                                                         intense engagement with their physical and human surroundings
                                                                                                                                                         occurs, putting the artists in a much more challenging position where
                                                                                                                                                         suddenly what they do and what they are become an issue with the
                                                                                                                                                         community at large.

                                                                                                                                                         MEANINGFUL ENGAGEMENT?
Aine Phillips Shelters in Memory 2005                                      Fiona Woods Pink Sheds 2005                                                   Nowhere more than in the country can the edges around art become
                                                                                                                                                         as porous. Is it art because I’m looking at it in a certain way? Is it art

Making Art Porous                                                                                                                                        because I can talk it up? Is art only what the artist made? Am I an artist
                                                                                                                                                         when I am digging the ground to plant a garden ? And what about my
                                                                                                                                                         neighbour’s garden? What does being an artist mean for the
DJERIBI AND DOMINIC STEVENS TRAVELLED FROM LEITRIM TO CLARE TO REPORT ON A RECENT                                                                        community? An artist involved in a rural community will certainly
MEETING OF THE GROUND UP ARTISTS’ COLLECTIVE.                                                                                                            add another layer of possibilities or complexities to a place where as a
                                                                                                                                                         child not so long ago if you weren’t working you were messing.
WHAT IS GROUND UP?                                                             Where traditionally the rural setting is used a source of pictorial
Ground Up was initiated by the arts office of Clare County Council to     inspiration full of romanticised visions of a vanishing world, all the
challenge the assumption that rural audiences could make do with the      participants emphatically described their surroundings as a vibrant
‘traditional’ arts, while new, challenging contemporary work, could       place, a complex zone of politics, community and life. The inspiration
only be appreciated by urban audiences. Three groups of temporary         gathered there was borne of their very engagement with what went on
public art works in rural locations have been commissioned with the       around them, well beyond a mere observation.
aim of creating new audiences and promoting discussions about the
role of public art in rural society.                                      WHO IS EDUCATING WHOM?
      This meeting, which took place on 11 June in the Burren College     The common prejudice would have it that rural audiences need to be
of Art in Ballyvaughan, of the resulting Ground Up artists’ collective,   educated before they can reach up to the level of the art offered to
was called to assess the success of the project with the participating    them, in that context it is of course implied that art is a commodity
artists.                                                                  that deigns to travel from the big cities. This room of artists (who in
                                                                          passing also form part of the aforementioned ‘rural audience’) have
                                                                          developed a more sophisticated position. Provided that the rural
                                                                          population is not confronted too formally with art, they do respond
                                                                          fruitfully (and actually have, judging from the success of the already
                                                                          completed Ground Up projects). This is partly because, certainly in the
                                                                          farming community, from small-scale pieces (the fence or the turf
                                                                          stack), to larger-scale interventions (field management, barn
                                                                          constructions), the people that artists are actually dealing with also
                                                                          make visual decisions on a daily basis.
                                                                               The fact that farmers would not perhaps regard their activity as
                                                                          having anything to do with art is in fact not relevant, the artist in
                                                                          action can be there to prompt a discussion or a reflection. There is
                                                                          certainly here a rich potential for dialogue, between art practice and
Sean Taylor Blushing Hills 2005
                                                                          the everyday in a rural setting. The rural-based artist together with
WHO WAS THERE?                                                            their audience (in effect their neighbours), are all engaged in a
Siobhán Mulcahy (Arts Officer Clare County Council); Artists from         continuous two-way further education programme.                                 Ground Up Magazine Cover 2003

Ground Up 1: Maria Finucane, Fiona O’Dwyer, Áine Phillips. Seán
Taylor. Fiona Woods (Regional Arts Co-ordinator, North Clare Arts         THE PLACE OF THE ARTIST.                                                       As art/architecture/farming/baking practitioners based in Leitrim for
Office and instigator of the Ground Up project); Artists from Ground      This unprecedented economic boom in tandem with the decline of the
                                                                                                                                                         the last 7 years, we were extremely stimulated by the Ground Up
Up 2: Maria Kerin, Aileen Lambert, John Langan, Deirdre O’Mahony,         small-farming sector, has compelled people to commute and work
                                                                                                                                                         initiative. This project seems part of a shift that is quietly happening in
Vince Wall; Artists from Ground Up 3: Vladimir Arkhipov, Amanda           away from their homes, giving them capital, and making them less
                                                                                                                                                         many disciplines. While the urban space is being engulfed in rampant
Dunsmore, Patricia Hurl, Tamás Kaszás, Therry Rudin; Fergus Tighe         reliant on one another – effectively killing off the old meitheal
                                                                                                                                                         consumption, the rural, in an era of cheap travel and virtual
(filming the event).                                                      systems. This has resulted in the relative explosion of rural
                                                                                                                                                         connectivity, is becoming the place where potential radical thought
                                                                          communities. In effect the artist is the first to return, taking up
                                                                                                                                                         may happen. While the very notion of development is being
AGENDA.                                                                   residence in abandoned houses and reappraising the values and
                                                                                                                                                         questioned, the powers that be still describe a ‘developed’ country in
  Does the rural context (as distinct from the urban context) require     pleasures of rural life.
                                                                                                                                                         terms of how few people are still engaged in agriculture. However, a
   that we, as artists working in a context-specific way, think                The smaller numbers that make up surviving rural communities
                                                                                                                                                         growing number of people are settling in the countryside and while
   differently about what we are doing?                                   have a long history of close interdependence. The artist introduced
                                                                                                                                                         continuing their hitherto urban-based activity (not ‘dropping out’) are
   What does it mean to engage meaningfully with a community?             into this existing structure by definition becomes important at some
                                                                                                                                                         also engaging with the work of the land. These new settlers, like many
   How can failure be incorporated and made visible as a disruptive       level to everyone – either in what they make or what they say or
                                                                                                                                                         of the Ground Up artists, are developing a very acute conscience of
   ingredient within the overall structure and conceptual framework       simply what they are. “The artist is just another personality, and a
                                                                                                                                                         their position in their communities and in the world. Less engaged as
   of any cultural project?                                               community is made up of lots of personalities.” (Vince Wall)
                                                                                                                                                         artists in the production of objects for sale, they are very aware of the
   What is the relationship between existing rural aesthetics and              On the other hand, the urban artist finds himself in a niche
                                                                                                                                                         rural landscape as being a vibrant contemporary place rather than a
   indigenous forms of rural creativity and contemporary art practice?    society of ‘sophisticated’ individuals, bathing in a homogenous
                                                                                                                                                         moribund landscape for the pursuit of recreation and nostalgia. What
      As a starting point to the discussion, Fiona Woods proposed that    discourse (apart from the odd comment from one’s parents) that is
                                                                                                                                                         we are witnessing is a profound shift in perception, the discourse- and
as artists engaging with the rural context we were contributing to the    totally pre-formatted. In the countryside the emperor is always naked.
                                                                                                                                                         policy-makers have to date always sat in the city and applied their
development of new thinking ‘that challenges the conventional
                                                                                                                                                         policies about farming, life etc. to the countryside, a more interesting
notions of the rural as a marginal or minor cultural discourse, and       WHY THE COUNTRYSIDE?
                                                                                                                                                         set of theories is now starting to emanate from the countryside about
repositions it as a new intellectual site and critical impulse from       A lot of people in the room were able to reflect on the evolution of
                                                                                                                                                         itself, and about the world at large.
which to construct a new cultural discourse about social, economic        their connection with where they lived. Progressing from the initial
and environmental change in the context of sustainability.” Ian           “viewing the landscape as a type of spectacle” to making work that is
                                                                                                                                                               Djeribi practices as an artist, publisher and baker. Architect
Hunter, Littoral Arts Trust                                               “revealing some of the complexities of competing interests in the
                                                                                                                                                            Dominic Stevens focuses on making buildings and theoretical
                                                                          landscape, for example farming, tourism or house-building” (Deirdre
                                                                                                                                                               projects in the Irish countryside. Together they farm 5 acres,
RURAL?                                                                    O’Mahony).
                                                                                                                                                                                          keeping goats, ducks, chickens and cats.
The participating artists were either rurals who had gone through              Stereotypically the artist uses the quiet rural setting as a retreat to
temporary urban reprogramming in art college, reformed urbanites;         produce art to exhibit and sell in the city. This is ultimately a suburban
and a handful of urbans dipping their toes into rural life, venturing     state where there is a divorce between homes and workplaces or
tentatively beyond the pale.                                              schools—perhaps the greatest malaise in contemporary Irish society,
monica flynn
in the woods we return..
an exhibition of new work, exploring lancdscape & locality

                                                  Crow Gallery
                                     Thurs 28 Sept - Sun 8 Oct
Thurs. 28 Sept. 6-8 pm

Gallery hours:
Mon - Sun, 12 - 5pm
& by appointment.
M: 086 831 8132 (to view)

Crow Gallery
1st Floor, 6 Crow St,
Temple Bar, Dublin 2

M:083 331 7190 (press info)
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The Visual Artists’ News Sheet                                    September / October 2006                                                                                                                                                            25


                                                                                                                                                                                described how various collaborators came together to undertake
                                                                                                                                                                                various documentary-based film and audio projects. The overall focus
                                                                                                                                                                                of the day included the use of the term ‘community’ in a transient and
                                                                                                                                                                                non-fixed sense, arising from particular places, structures and
                                                                                                                                                                                situations. Gutierrez openly discussed the successes and failures of
                                                                                                                                                                                previous projects undertaken by himself and his cohorts. He described
                                                                                                                                                                                their work as a means to open dialogue around motivations and
                                                                                                                                                                                manifestations of projects from ‘within’, yet outside of and beyond
                                                                                                                                                                                clichéd ideas of ‘existing communities’. For the afternoon session
                                                                                                                                                                                Gutierrez screened the recently completed documentary film; Valley of
                                                                                                                                                                                The Dog Songs (2005) followed by questions and answers.
                                                                                                                                                                                     On 12 May, Temporary Foray welcomed Kirsten Lavers of Taxi
                                                                                                                                                                                Gallery, Cambridge, UK and Clodagh Kenny, director of Fire Station
              (L–R) Lucina Russell, Sally Timmons and Clodagh Kenny at ‘Temporary Foray’.                                                    Pat Murphy at ‘Temporary Foray’.   Artists Studios, Dublin. Kenny participated in the fourth event at short
                                                                                                                                                                                notice and provided a welcome presentation which considered ‘studio

Making Inroads                                                                                                                                                                  culture’ and looked at some of the artists who’s practices have
                                                                                                                                                                                benefited from the opportunity to take up residential studios in
                                                                                                                                                                                Dublin’s North inner city. Lavers set the agenda for the day by using
KILDARE COUNTY COUNCIL ARTS OFFICER, LUCINA RUSSELL AND ARTIST, SALLY TIMMONS PROVIDE                                                                                           alternative terms to describe an artist’s social existence and
AN OVERVIEW OF ‘TEMPORARY FORAY’ A SERIES OF TALKS AND WORKSHOPS HELD AT RIVERBANK                                                                                              responsibilities such as, ‘caretaking’ and ‘neighbourhood’. Issues
ARTS CENTRE, NEWBRIDGE, COUNTY KILDARE (FEB – JUNE 2006)                                                                                                                        around ideas of responsibilities and neighbourhood also fed into
                                                                                                                                                                                Kenny’s approach to describing the remit of an organisation such as
THE Temporary Foray series marks a turning in the arts service’s                            was important for me to question the overall intentions and objectives              The Fire Station – that has often been assumed to function under a
provision for Kildare County Council. At the outset, Temporary Foray                        that the local authority arts service might have in initiating such a               community arts mandate.
was envisaged as a series of informal presentations, providing                              ‘public profile’. I delivered anecdotal, yet in-depth briefings about each               The final event, which took place in on 16 June provided an
opportunities for artists and the wider public to reflect on and                            of the individual and group practitioners who I had short-listed to                 opportunity to recap on some of the issues raised over the previous
question the work, ideas; and rationale of significant international                        invite for the event series and asked questions about what kinds                    five months, while also critiquing the ‘usefulness’ of a talk series that
artists and arts administrators. Presentations by Kirsten Lavers,                           administrative and managerial protocol would be necessary to work                   employs rhetoric, discussion and informal collective groupings. The
operating a gallery from a taxi in her front garden and by Diego                            from within the confines of the county council.                                     day began with Dave Beech, who talked about a series of projects he
Gutierrez connecting with artists around the world, via hand-written                             At the initial meetings I also noted elements of behaviour                     had undertaken where he took on roles beyond that of the single
questions, film and music, threw on its head traditional notions of “the                    inherent to local authority institutions and working environments –                 identity of a studio-based practitioner. In an audacious presentation,
work that we do, where we do it and how we do it”.                                          such as bureaucratic protocol taking precedence over attempts to raise              Beech promoted philistinism and popular culture as a form of ‘anti-
     The series attracted a number of artists returning to the county,                      the current standard in services. These issues arose during discussions             art’, which questions itself and the value systems around good and bad
leaving behind larger towns and cities, where opportunities to meet                         about the brochure design and technical support at Riverbank. This                  taste.
other artists, attend arts events, presentations and lectures are almost                    prompted me to undertake further appraisal meetings with various                         In the afternoon, Sarah Pierce, organiser of Metropolitan
taken for granted and where the potential of the physical                                   individuals working and resident within Kildare County in order to                  Complex engaged further with points arising from the morning’s
infrastructure provides more scope for artists needs. Temporary Foray                       seek out a means to implement an informal, yet critical, dialogue                   discussion with Beech. She pointed to the lack of attention we pay
created an expectation from these artists and set challenges for Kildare                    series. Some of the individuals I consulted were Brian Swan (Kildare                towards unofficial and informal interactions and encouraged those
County Council – How to further engage with artists in a meaningful                         County, architect), users of Riverbank Arts Centre such as the                      present to consider what defines ‘expertise’ and ‘amateurism’.
way? How to build on the existing arts infrastructure, physical and                         Scribblers Inc. writers group and a number of artists who have                           The final hour involved a forum around Rhetoric in which
otherwise in the county? In a commuter-belt county in the midst of a                        exhibited in the exhibition space at Riverbank. I also benefited from               attendees made active contributions by reading out texts or
technological revolution like Kildare, how do we create connections                         telephone conversations with individuals such as Marion Brown,                      statements relevant to words such as – rumour, chat, voice, inform,
that are both local and global? The upcoming autumn artists                                 Visiting Teacher for Travellers in Co Kildare.                                      arbitration; that had been communicated to attendees prior to the day
symposium, which is entitled ‘Temporary State’, will deepen the                                  During this period it became clear to me that the ‘venture out’                via phone or email. This ‘happening’ grew from a conversation that
Temporary Foray work and allow Kildare based artists to move into                           which I was planning to undertake on behalf of Kildare arts services,               took place between myself and Pierce during an early development
the ‘production’ phase of the process, while gathering information for                      would be an opportunity for learning and critical appraisal for the arts            meeting in which we devised a means to allow regular attendees to the
further critical debate programmes.                                                         officer, in terms of her position and role within the bigger institution            series have the ‘final say’ on the last day.
     The Arts Development Plan for Kildare County Council 2006-                             of the council – as much as it was intended to be for the audience                       Currently, I am working towards producing a catalogue, which
2011, due to be published this autumn, commits to ‘Redefining Ways                          members who we hoped to target for the duration of the five month                   will take the form of a comic strip, in collaboration with two other
of Working’. No doubt, the outcomes of the Temporary Foray series                           series. With this in mind, the programme has been a mutual success,                 artists – Carly McNulty and Brian Kelly. The catalogue will document
will impact on this work, the potential of which is yet to be explored.                     for myself, those who attended the series and for Kildare Arts Services             various contributions made during the five-month run of Temporary
                                                        Lucina Russell                      as the initiators of an important and involved consultation, cultural               Foray by those who attended – which averaged between 25 to 30
                                                                                            development and evaluative process.                                                 people each month. The catalogue is intended as a gauge or indicator
IN autumn 2005, Lucina Russell contacted me and proposed that I                                  The first event, which took place on the 10 February, allowed                  of what emerged as the most important and relevant topics raised
might be interested in coordinating some workshops and / or artists                         artists, individuals and groups to meet and engage with two artist-led              during the event series – rather than a ‘conclusion’ to the project. The
talks to take place at Riverbank Arts Centre in Newbridge. The                              collectives – Via, based in Dublin and Platform from Finland. During                most valuable ‘outcomes’ of Temporary Foray can only be measured in
intention of this initiative being to facilitate informal dialogue                          the morning session, participants took part in a sewing workshop                    terms of the actions of those who chose to engage in this open and
between the Kildare arts services, visual artists and other cultural                        during which Via introduced the working process of artist Bea                       fluid process. This of course includes Kildare Arts Services, which
practitioners located in, or associated with the county. The Kildare                        McMahon, who uses sources such as mathematical theory and sewing                    already has responded by asking me to devise a week-long symposium
County Council Arts Services office is located in the Riverbank                             to inspire her practice. In the afternoon, Platform introduced some of              planned for the last week in November 2006. For ‘Temporary State’
building, and it was agreed from the outset that it was important to                        the activities that they have undertaken in Vaasa, a town in West                   Kildare Arts Services will invite seven Kildare based practitioners to
introduce practitioners and public to the arts centre as a physical point                   Finland that is of comparable size to Newbridge.                                    join three artists to take up occupancy of a residence in County Kildare
of contact.                                                                                      On 10 March, Willie White (artistic director of Project, Dublin),              for the duration of one week from 27 November. Temporary State will
     The title ‘Temporary Foray’ was chosen to suggest an expedition                        Lois Keidan and Daniel Brine (Live Art Development Agency, UK)                      be an opportunity for art practitioners to act upon their experience of
arranged to supply a passing cultural need – with the ‘forayer’ or                          presented mixed approaches to their practices both as fostering                     living and working in County Kildare.
forager leading the way and making inroads by rummaging through                             representatives of organisations and individuals with specific interests                                                                   Sally Timmons
an existing field; and the use of the word ‘temporary’ implying the                         and concerns. White’s antagonistic approach in asking “what do you
non-eternal or mutable, which is appropriate in relation to a                               do with your revolution when you get it?”, allowed for audience                     The call for proposals for the Temporary State Symposium can be
constantly changing regional location such as Kildare. Temporary                            members to enter into debate and discussion in informal                             found in the opportunities section of this edition of the VAN.
Foray aimed to provide participants the opportunity to take a ‘day out’                     surroundings, where key topics were voiced, such as partnership,                    For further information contact:
from their regular activities and be provided with ‘food for the soul’                      competence and cultural foundation through planning, design and            /
through engaging in informal activity-based talks and presentations.                        appropriation. Keidan and Brine attended White’s animated morning
     The preliminary meetings with Kildare Arts Services included                           session which meant that keen discussions could continue through
Lucina Russell (County Council Arts Officer for Kildare), Brenda Brady                      lunch and into the afternoon.
(Assistant County Council Arts Officer) and Sinead Redmond (Acting                               On 7 April, Diego Gutierrez presented a critical outline of his
Manager at Riverbank) and lasted for approximately three to four                            involvement with El Despacho / The Office – a project situated in the
hours. During these sessions, besides discussing cultural interests, it                     Latin American Tower building in downtown Mexico City. Gutierrez
26                                                                                                                                                     The Visual Artists’ News Sheet                           September / October 2006


Fees & Contracts

VISUAL Artists Ireland is continuing its research into fees, payments          We have listed here just some of the personal anecdotes received from             Artists come off worst from arts venues that are not dedicated to
and contracts for artists in order to provide back up for a campaign to        artists we spoke to –                                                             visual arts or those that are directly run by local authorities.
improve the living and working conditions of professionally                       “My experience is of an exhibition fee of around €200 in ROI if you            Artists are often asked to put the exhibition fee towards the costs of
practicing artists. In this update we give a brief overview of some of the       are lucky; and in the North £300STG again if you are lucky.”                    the exhibition, such as transport or a catalogue.
rather predictable feedback we have received to date                             “Have been paid €550 by OPW for shortlisting on a commission, but               Artists who are either assertive or established enough will often be
       The ongoing campaign for a better deal for creative artists is run        with materials, research, site visits and presentation costs such as            able to negotiate better terms for themselves.
in conjunction with the Irish Playwrights and Screenwriters Guild and            binding and folders and the requirement to provide five copies of               Per-cent for art commissioners are very often not fully aware of the
the Composers Association of Ireland and commenced over 2 years                  the submission it is prohibitively expensive to participate …. I find           work that is involved in preparing a proposal or undertaking a
ago. In August 2004 our 3 organisations met with staff and senior                County Councils to be the lowest payers.”                                       commission.
management of the Arts Council to demand action in relation to pay               “When showing in a municipal gallery I was not offered EPR                      Artists will lower the fee they should charge in order to secure a
and working conditions for artists in line with commitments made in              (Exhibition Payment Right), when I queried this I was told ‘we don’t            particular commission.
the 2002 Arts Plan.                                                              do that’ ”.                                                                     Per-cent for art commissions are generally always covered by a
       At this August 2004 meeting we were directed to the then                  “I have been paid €400 by 2 separate regional arts centres, however,            contract.
upcoming strategy review and it was suggested that we might partake              another paid me nothing – and I also had to pay for the hire of video           Many arts venues and organisations make use of written
in the consultative meetings to raise our concerns. Our 3 organisations          equipment myself, this was despite having verbal assurances in the              agreements in their dealings with artists, however, they are
vigorously participated in this process and were pleased to see                  early stages that there would be funding available … I feel a lot of            generally very brief and often make no reference to the artists’ fee.
commitments made within Partnership for the Arts (published in                   galleries take advantage of the fact that there is no fixed rate of             However many prominent galleries still do not use formal contracts,
December 2005) to improve artists living and working conditions and              payment.”                                                                       preferring to make use of less formal arrangements, usually
in particular to –                                                                “I’ve never been paid for participating in a solo or group show, I was         outlining terms and expectations verbally or in letters.
1. Implement new funding conditions to ensure Arts Council funded                paid €500 for a commission shortlisting fee but the requisite                   Artists rarely supply their own contract and when offered one do
  organisations provide adequate pay and working conditions for                  engineers report cost €300.”                                                    not usually feel confident about re-negotiating the terms.
  artists                                                                        “There should be a standard fee across the board for commission                    From looking at examples elsewhere it is clear that the use of
2. Agree and implement standards for the employment and                          shortlisting of between €850 and €1,000. To present a well thought            contracts is much more common abroad and is particularly developed
  commissioning of artists by arts organisations and others                      out proposal, maquette and costing there is considerable time                 in countries such as Canada and Australia where artists benefit from
    In June this year representatives of our 3 organisations met with            involved. Arts Officers and commissioners need to be educated                 the wide availability of template contracts designed for a variety
members of the Arts Council to discuss how to move forward on the                about this.”                                                                  situations. In 2003 the Scottish Artists’ Union (SAU) brought out
above commitments. While we sensed good intentions to implement                  “Most artists are delighted to be given opportunities and until               Artists’ rates of pay: recommended national rates of pay for visual and applied
these plans it was clear that no deadlines or details had been drafted as        he/she gets well known for doing the work for almost nothing. I am            artists in Scotland, as the first phase of a series of research and advocacy
to how any such schemes might work.                                              trying not to do this anymore, of course there is the fear that work          documents. It is also worth mentioning that the Arts Council of
       In order to keep pressure on the Arts Council and in order to be in       will just be offered to another artist who charges less.”                     England is considering tightening up its arrangements to make its
a position to advocate well-researched and qualified recommendations             “EPR where it exists, if lucky, covers the cost of transportation             grants to galleries conditional on fair treatment of artists.
on the issue of fees, payments and contracts VAI is continuing its               of work to and from a venue.”                                                      The above research is ongoing and we urge artists to get in touch
research in this area.                                                           “In the past when walking away from a commission I was told by                and let us know their views and experiences in regard to fees,
       We have been asking artists about their experience in getting             the administrator that there were plenty of other artists waiting for         payments and contracts for artists. By the end of this year we aim to
paid for their work and the terms and conditions they work under and             the opportunity.”                                                             make detailed submissions to the Arts Council in relation to how we
have received almost 50 submissions so far. We have been asking                  “I figured out that I would eventually be expected to put most of my          believe it should implement the commitments and promises it has
venues, galleries, arts officers about their policies and rates of pay. We       artists fee into getting equipment and making the exhibition work,            made to artists within its strategy Partnership for the Arts. We will
have also been looking to other countries and regions to make                    this is one of the many pitfalls of working with multimedia.”                 accompany this with a detailed fee schedule with recommended
comparisons with the island of Ireland.                                          “One Local Authority Arts Office paid me €100 for a solo exhibition           minimum rates and a number of draft template contracts.
    We intend to use this research to help inform –                              and offered to pay for either a postcard invite or an opening
  A rates of pay/fee schedule – to establish basic minimum rates of              reception … it is also my experience that cheques and payments are
  pay. We envisage that this will be flexible and will therefore account         almost always invariably late and require lots of chasing up and                WE WANT TO HEAR FROM YOU!
  for the wide range of different types of venue, artist, exhibition,            harassing finance depts.”
  commission etc.                                                                                                                                                We would like to hear from artists, commissioners and galleries to
  A comprehensive template contract – with specific relevance to               From speaking to artists and venues/commissioners (and it will come               get your opinion on –
  artists when working on exhibitions, projects residencies etc.               as no surprise to most) generally we have found that –                              How, when and what an artist should be paid for different types
  An advocacy document – for use by VAI and others when                           While many dedicated galleries north and south apply the principle               of activity.
  campaigning for the fair treatment of artists by publicly funded               of EPR there are certainly a good many that do not.                               The use of contracts and written agreements governing artists
  bodies.                                                                        Exhibition fees (when they exist) currently range from €200 - €1000               dealings.
                                                                                 but most commonly fall into the €200 – €400 bracket.                            To add your experience and opinion or for more information please
                                                                                 Where they exist fees in the north seem to be slightly higher.                  contact Alex Davis: E:, T: +353 (0)1 8722296,
                                                                                                                                                                 F: +353 (0)1 8722364

                                             IVARO                 Irish Visual Artists Rights Organisation
     To register with IVARO – the Irish Visual Artists Rights Organisation simply complete this application
     form and forward it to: Visual Artists Ireland, Cnr. Halston St. / Mary’s Lane, Dublin 7. NB New address
     (from 18 Sept) 37 North Great Georges Street, Dublin 1.
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     I hereby applyfor membership of IVARO, Irish Visual Artists’ Rights Organisation Ltd.
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The Visual Artists’ News Sheet                          September / October 2006                                                                                                                                                    27


Visual Art in Louth                                                                                                      Anthony Collins

The Highlanes Gallery

                                                                                                                         Anthony Collins Golden Sunset

                                                                                                                         DROGHEDA based artist Anthony Collins recently
                                                                                                                         presented his first solo show ‘Twice Daily’ at the
                                                                                                                         Droichead Arts Centre, Drogheda (22 June – 14
                                                                                                                         July). Although resident in the town, Collins works
                                                                                                                         in Dublin at the Dublin Institute of Technology,
                                                                                                                         where he is the Fine Art Print Technician – the title
                                                                                                                         of his show being an allusion to the daily commute
                                                                                                                         undertaken by the artist. As Collins puts it “As an
                                                                                                                         artist and a commuter I find constant inspiration in
                                                                                                                                                                                  Anthony Collins Fly By Wire
                                                                                                                         the passing landscape Juxtaposed with the man-
                                                                                                                                                                                 from ‘in-between’ time – “spare time between his
                                                                                                                         made structures, man’s constant mark making on
                                                                                                                                                                                 work in the DIT and his home-life in Drogheda and
                                                                                                                         the landscape, as time passes and passes again.
                                                                                                                                                                                 they are of an ‘in-between place - the M1 -
                                                                                                                         Maybe time lost, maybe not?”. Selected pieces from
                                                                                                                                                                                 representing his daily commute between town and
                                                                                                                         this body of work were also shown in the Iomha
                                                                                                                                                                                 city. The monotonous back and forth of a
                                                                                                                         show at Droichead (27 April – 20 May), which
                                                                                                                                                                                 commuter’s life, that daily grind on the same
                                                                                                                         travelled to the Basement Gallery in Dundalk and
                                                                                          Highlanes Gallery, Drogheda.                                                           stretch of road, readily translates into the hard
                                                                                                                         to Lapua, Finland. Cliodna Shaffrey writing in the
DROGHEDA’S Highlanes Gallery will open its                 no doubt some will question why we needed to                                                                          labour and multiple editions of the printmaker’s
                                                                                                                         Iomha catalogue noted that Collin’s works arose
doors to the public in early October . It will be the      invest so heavily in these areas, but the reality is                                                                  craft”.
culmination of three years planning to deliver a           coming down the road that artists and collection
dedicated visual arts space for the region. The            managers will begin to insist on such facilities
                                                                                                                          Coming to Louth
gallery is sited in the former Franciscan Church and       being in place, so in a way we are ‘future proofing’.
Friary, which was known locally as ‘The Highlanes’.             Converting a church building, which is a
The Franciscan’s gifted the property to the people of      protected structure has not been without its
Drogheda when they ended their 780-year                    challenges. It is not a classic white-cube, the space is
association with the town in 2001. The buildings           very different – but I think the public will respond
date from the 18th century, although elements date         well to it. We were lucky insofar as it was a plain
back to earlier times and include the former               church to start with. As one local wag has said ‘the
Franciscan burial crypts.                                  building has soul!’.
                                                                The Highlanes Gallery programme over the
                                                           first year will see it reintroduce the Drogheda
                                                           Municipal Art Collection to the public for a three-
                                                                                                                         Sean Cotter Noise III                                    Sean Cotter Noise IV
                                                           month period. This will be complemented with
                                                           borrowed works from national and private                      IT was out of necessity more than desire that I made          Finding a studio didn’t take that long and it
                                                           collections, in order to place the early 20th century         the move to Louth in October 2003. I needed to be       was to come through my eldest daughter Eva.
                                                           works in the Drogheda collection in their context,            within easy access of my children as my ex-wife had     Having taken her to rugby practice I met one of her
                                                           which has a strong representation from women                  returned to her home county. I wasn’t too sure what     friends parents who, on hearing of my search,
                                                           artists. Other elements of the little known                   I could expect from the point of view of an art         offered me the coach houses in the courtyard
                                                           Drogheda Municipal Art Collection – which dates               community, but decided to throw myself into it.         behind their house. Perfect, as much room as I could
                                                           from the 17th century, will also be shown from                The first task was to secure an exhibition at a venue   want and a perfect place to begin work on a new
Highlanes Gallery, Drogheda.                                                                                             in Louth and as I was already aware of the
                                                           time to time. Dr. Denise Ferran has curated the first                                                                 body of paintings.
       The Gallery’s board has raised over €4 million      exhibition ‘The Drogheda Collection in Context –              Droichead Arts Centre, I decided to give them a               Like most artists, my time is spent between
from a range of international and local donors and         Irish Art from Hone to Nano Reid’.                            visit. I was introduced to the Visual Arts Officer,     two or three differing occupations trying to derive
have developed a gallery space which meets                      The Highlanes Gallery has an exceptional                 Tony Conaghy, who was very helpful and later            the most out of my week. My week breaks down in
international standards in terms of security,              indoor sculpture deck, and already links have been            informed me they would offer me a show in               three nearly equal parts of studio time, family time
humidity, lighting and related environmental               forged with Sculpture in Context in order to show a           October 2005. In fact the more people I would meet,     and working as a stonemason, which I find a
controls. This is a major achievement for the town         major selection of contemporary works from                    the more I found they couldn’t do enough to help.       welcome break from the isolation and mental
as none of the cash has come from direct                   sculptors working in Ireland later in the yearand             People like the aforementioned Tony Conaghy,            toughness of painting. Alot can be said of a hard
government funding, with several local individuals         December this year. I believe that the Highlanes              Marcella Bannon, Director of the Droichead Arts         days graft and there’s nothing to compare to the
making very large cash donations to the project.           Gallery can be one of the few Irish venues that can           Centre, Brian Harten – a very helpful and               sleep you welcome after it – unlike a bad day in the
The board of the gallery also made a strategic             offer the potential for year-round slots for either           approachable County Arts Officer and Síle               studio when you return home only to toss and turn
decision to purchase much of the adjoining                 group or individual sculpture shows.                          O’Sullivan the Arts Officer of the Dundalk Town         the night away. Of course the reverse is also true or
property a number of years ago, to enable it plan for           Highlanes Gallery is also working closely with           Council. There is a very positive feeling developing    I wouldn’t be in this game. The natural high (or
the Highlanes Gallery long-term development.               Banbridge District Council who are developing a               in Louth among the arts community and                   otherwise if you’ve being overdoing the turps!) on
Much of this property has been incorporated in the         space dedicated to the studio of FE McWilliam, this           newcomers are most definitely welcome.                  the completion of a piece has no comparison for
development and will be rented to cross subsidise          will lead to joint programming and education                        Part of this can be seen in the drive behind      me. Working for myself gives me the ability to take
the gallery programme.                                     services in the coming years between both towns.              Íomha, a selected show of the arts in Co. Louth,        as much time as I need off to focus on the
       The Highlanes Gallery will be able to               Development work on the gallery will continue                 whose stated aim is “To increase awareness of           development of new work. It is a flexibility that I
programme shows of most types contemporary or              into 2007. The Highlanes Gallery has full planning            achievement in the arts by Louth Artists”. The          am lucky to have.
historical practice without difficulty. We also have       permission to build a further environmentally                 inaugural exhibition was in 2004, featuring 19                My anxieties about moving to Louth have thus
a strong sense that we need to reach the highest           controlled storage area, two further ‘cube galleries’         artists, with a second more focused exhibition this     far proved unfounded and I expect will always
standards             in       terms    of       the       and an education centre in 2007.                              year, which featured five artists (including myself),   remain so.
environmental/conservation side of running a                                                           Nick Reilly,      curated by Ruairí Ó Cuív and Cliodhna Shaffrey,                                                 Sean Cotter
gallery. In my experience this is too often cut from                                          Project Manager,           complete with accompanying catalogue. Little did I
the budget – and arts venues are then always                                                 Highlanes Gallery.          think my relocation would produce such fruits.
running to ‘catch up’ to accepted standards. I have
28                                                                                                                                                                       The Visual Artists’ News Sheet                            September / October 2006


The Basement Gallery                                                                                                                                                                               Cliodhna Cunningham

Brian Flynn’s exhibition at the Basement Gallery.

THE        Basement           Gallery,        Dundalk’s    only
contemporary visual arts gallery, was established by              Work by Beth O’Halloran, shown at the Basement Gallery.

the Arts Office of Dundalk Town Council in 1992                   commission rate of 20% maximises the value of the
and has carved out a niche for itself where the                   sales to the exhibiting artist. Works are purchased
primary consideration is the sense of freedom for                 by the gallery across the year on behalf of The
the exhibiting artist. The gallery is in the basement             Dundalk Town Council Collection. The gallery is
of the Town Hall, Dundalk, completed in the 1860s                 part of the Town Hall Building and is run by Local
and the original architect of which was John                      Government. The Arts Office of Dundalk Town
Murray. The Basement Gallery programme has                                                                                          Niall Bowler, work from ‘The Joy’
                                                                  Council manages and programmes the Basement
included 11 exhibitions a year and has an                                                                                          including painting and photography by Beth
established reputation as a springboard gallery,                                                                                   O’Halloran and site specific responses to the gallery
                                                                       More recently, the gallery’s ethos has expanded
which included early exhibitions by Caroline                                                                                       by Paul Murnaghan ‘Turn me on deadman’ which
                                                                  to include artists at a more mature stage of their
McCarthy and Isabel Nolan. The atmospheric                                                                                         includes sound and video installation and the
                                                                  careers and exhibitions which respond specifically
exhibition space includes vaulted ceilings and                                                                                     forthcoming light installation by Garrett Phelan
                                                                  to the history and architecture of the space. Recent
                                                                                                                                                                                                   Cliodhna Cunningham. Untitled. Work shown at Iomha 2006
flagstone floors and was formerly Dundalk’s Town                                                                                   ‘Points of Power’. In a significant new programming
                                                                  noteworthy exhibits include Balbriggan based artist
Gaol and the biggest holding prison in the North-                                                                                  development planned for 2007 the Basement
                                                                  Thomas Brezing’s installation in response to the
East for prisoners due to be transported to Australia.                                                                             Gallery will be working with a seasonal guest
                                                                  9/11 tragedy and Noel Bowler’s exhibition of
With no natural light the gallery is a challenging                                                                                 curator and the number of exhibitions will be                   I have worked primarily with the body for several
                                                                  photographs from Mountjoy prison ‘The Joy’ which
but unique space particularly suited to video, sound,                                                                              limited to six, which will run for a longer period of           years exploring the physicality of the human, both
                                                                  first premiered in The Gallery of Photography in
light and installation work. The gallery consists of a                                                                             time.                                                           internally and externally. As such I don’t think that
                                                                  Spring 2005. ‘Ghost’, an exhibition selected from the
main space (24m x 3,75 m approx) with a vaulted                                                                                          Further information can be obtained by                    my place of residence and the visual environment
                                                                  collection at IMMA included Tom Molloy’s Dead
ceiling and three side spaces or cells, which are each                                                                             ringing the Arts Office on 042 9396437 or emailing              surrounding me here in Louth have had a directly
                                                                  Texans and documentation of Dorothy Prendergast’s
8.5 m x 2.5 m approx and a fourth space (7.5m x                   Ghost Ship. The choice of works selected from           Interested artists               identifiable influence on my work. I grew up in
7.5m). There is space for large works on canvas and               IMMA’s collection were inspired by the notion that               should send a maximum of six slides or CD ROM or                Louth, but moved away for nine years. The first
freestanding sculpture but artists should note the                an environment can retain a residue of people or                 VHS plus CV and artist’s statement for the attention            four years were spent studying for my Fine Art
ceiling height (3 metres app.)                                    objects which were part of its past.                             of The Arts Officer, Town Hall, Dundalk Town                    degree, which was completed in 2002. The
      The subsidised status of the gallery means that                  In 2006 the Basement Gallery has also attracted             Council, Crowe St, Dundalk, Co. Louth.                          majority of the following years were spent in
exhibitions can be comprised of work that might be                established artists working in a range of media who                                                          Sile O’Sullivan     Dublin, but also involved numerous travels to
far removed from the marketplace whilst the low                   have exhibited nationally and internationally                                                                                    places throughout the world. It has been just over a
                                                                                                                                                                                                   year since returning to Louth.
                                                                                                                                                                                                          Although ‘place’ does not have a huge
A Flourishing Arts Sector                                                                                                                                                                          influence on my work, since returning I have had a
                                                                                                                                                                                                   lot of interest and support for my work through
LOUTH Local Authorities are committed to                          installation by William Dennisuk near the Boyne                  Lapua, Finland. The artists represented in Iomhá
                                                                                                                                                                                                   the local authorities and arts centres. So perhaps
ensuring that Louth will be home to a flourishing                 Bridge, outside Drogheda, which had a budget                     2006 are Anthony Collins, Mary Donnelly, Seán
                                                                                                                                                                                                   location will become a little more prominent in
arts sector where artists and their work will be                  available to the artist of €170,000. As the number of            Cotter, Cliodhna Cunningham, and Brian Hegarty.
                                                                                                                                                                                                   respect to my experiences. I have found the art
valued, developed and celebrated. So says the                     permanent outdoor sculptural works has increased,                The Finnish leg of the tour is supported by Louth
                                                                                                                                                                                                   scene in Louth more accessible in contrast to a city
recently adopted Arts Plan for the county, but how                a deliberate shift in emphasis has resulted in more              Leader, and it is hoped that Iomhá in Finland will
                                                                                                                                                                                                   such as Dublin; where opportunities are of course
does this commitment present itself in reality?                   community and developmental projects being                       stimulate dialogue among the arts communities in
                                                                                                                                                                                                   available, but where competition, contact and
      On an individual and group basis, visual artists            commissioned,         with      residencies        and    more   Louth and Lapua.
                                                                                                                                                                                                   access can pose a problem for recent graduates and
living in Louth are entitled to apply for a number of             participatory projects to the fore.                                      “The most exciting visual arts initiative in the
                                                                                                                                                                                                   less established artists.
funding opportunities under the Create Louth                           In terms of venues, Dundalk Town Council                    North East” is one way in which the development of
                                                                                                                                                                                                          Iomha 2006 gave myself and the other artists
banner. Create Louth is a grouping of eight awards                Arts Office continues to programme and manage                    the Highlanes Gallery in Drogheda has been
                                                                                                                                                                                                   included in the show the opportunity to travel to
aimed at the arts community, and is operated by                   the Basement Gallery in the Town Hall, Dundalk.                  described. The renovation of the old Franciscan
                                                                                                                                                                                                   Lapua, Finland where the work is currently being
Drogheda        Borough        Council,        Dundalk    Town    Established nearly 15 years ago, the Basement                    Church in the centre of Drogheda has resulted in
                                                                                                                                                                                                   exhibited to an international audience. During our
Council and Louth County Council. As an example,                  maintains a tradition of showing the work of young               the creation of the most extensive and innovative
                                                                                                                                                                                                   stay we visited several studios and galleries and
the long-established North Louth Artists received a               and innovative artists, with AIB Award Winners                   visual arts space in the region. The Highlanes
                                                                                                                                                                                                   discuss and compare contemporary Finnish art
grant of €3,000 towards the design and production                 Caroline McCarthy and Katie Holten having their                  Gallery is equipped to take exhibitions of an
                                                                                                                                                                                                   practice with the work we showcased and our
of a brochure and postcard pack, timed to coincide                debut solo exhibitions in the space. The beneficiary             international nature and will be the figurehead for a
                                                                                                                                                                                                   experience of contemporary art practice in Ireland.
with their re-branding and the annual group                       of ACCESS funding, the Basement Gallery                          whole series of visual arts interventions in the
                                                                                                                                                                                                   We also got to encounter the art organisations and
exhibition. Individual artists have received funding              underwent refurbishment and enlargement in                       county. As well as being a receiving venue for high-
                                                                                                                                                                                                   support available to Finnish and international
for study trips, materials, exhibition expenses and               2002, allowing it to further broaden the scope of                profile exhibitions, the Gallery will also be home to
                                                                                                                                                                                                   artists. And recently, the Louth LEADER group has
training in the past. Each of the arts officers works             exhibitions in this atmospheric and quirky ex-gaol.              the Municipal Collection of Drogheda Borough
                                                                                                                                                                                                   been in contact to invite myself and other Louth
with applicants in ensuring the application                            In Drogheda, the Droichead Arts Centre is                   Council. While all three Councils continue to add
                                                                                                                                                                                                   artists to take part in two-day professional practice
includes all the necessary detail before submitting.              supported by Drogheda Borough Council. The                       to their collections, buying from contemporary
                                                                                                                                                                                                   programme, where we will hear from several
Each local authority in Louth also operates the                   Droichead has long been the focus for the visual arts            Louth artists for the most part, the collection built
                                                                                                                                                                                                   speakers and have one on one clinics to discuss our
Tyrone Guthrie Centre Regional Bursary, which                     in south Louth and east Meath, and its programme                 up over many years by Drogheda Borough Council
                                                                                                                                                                                                   own art practice and discuss various future
enables successful applicants to stay for two weeks               and the opportunity for exhibiting it offers has been            is among the finest in the country and is now
                                                                                                                                                                                                   projects, therefore I feel their support is ongoing
in this artists’ retreat in North Monaghan.                       crucial to the development of many artists in the                housed for the first time in a state of the art gallery,
                                                                                                                                                                                                   and my practice has benefited largely since my
      Due to the strong growth in both the number                 region. This year, the Droichead Arts Centre and the             ensuring proper conditions for the Collection’s
                                                                                                                                                                                                   return to county Louth.
and scale of publicly funded infrastructural                      Louth      Local     Authority        Arts     Offices    have   display and care. The Highlanes Gallery is a
developments in Louth over the past 5 years, the                  collaborated on a major exhibition entitled Iomhá.               significant addition to the visual arts infrastructure
                                                                                                                                                                                                                                   Cliodhna Cunningham
implementation of the percent for art scheme has                  Iomhá is a curated, open submission show for artists             in Ireland, and Louth Local Authorities is
resulted in over 20 new sculptural and interior                   born or living in County Louth. Five artists were                committed to maintaining support for the visual
commissions being awarded to artists on the Louth                 chosen by the curatorial team of Ruari O’Cuiv and                arts and for artists in the county.
Public Art Panel. These commissions have ranged in                Cliodhna Shaffrey. The exhibition was on show in                                                              Brian Harten,
scale from a weathervane entitled Fish by Jane                    the Droichead Arts Centre, the Basement Gallery,                                                               Arts Officer ,
Murtagh in Omeath to the Speed of Light                           and is currently being prepared for exhibition in                                                     Louth County Council
The Visual Artists’ News Sheet                                  September / October 2006                              29


Droichead Arts Centre

                                                                  exhibition programme, which comprises 7/8 shows
                                                                  in Gallery 1 and 3/4 in gallery 2, is devised as a mix
                                                                  of work by emerging, established, national and
                                                                  international artist. In addition to programming on
                                                                  the basis of submissions, two shows a year are
                                                                  initiated by Droichead, past examples, a Gerard
                                                                  Dillon Retrospective in 2002 and the ongoing
                                                                  Iomha, open submission show for Louth based
                                                                        As a multidisciplinary arts centre, Droichead
               Main Gallery, Droichead Arts Centre, Drogheda.     accommodates many diverse arts discipline; this of
DROICHEAD Arts Centre has allowed visual arts to                  course raises difficulties in time required to
flourish and exist in Drogheda for the past 13 years.             suitably develop the visual arts alone. Droichead
In terms of its visual arts policy Droichead has                  has recently employed a Community Arts Officer
managed to keep a balance the provision of space                  who will assist in developing better dialogue in
for young emerging artists, experimental work                     relation to the developmental needs of our
pieces, retrospectives, and group shows. Artists                  audiences. However this town is changing radically
who have exhibited in the gallery include Amanda                  like many other large towns in Ireland and so too
Coogan, Dara McGrath, Sean Cotter and more                        are the needs. Unfortunately we are not afforded         ANNOUNCING THE ARCHIVE AT CITYARTS
recently Anthony Collins. Retrospectives have also                the luxury of time and resources necessary to assess
included Gerard Dillon and Camille Souter.                        these changes in detail and so we depend largely on      The Art of Social Change                                        All events:
     One of Droichead’s key objectives is to provide              keeping aware of current visual arts trends.             An exhibition to mark the launch of The Archive at              Dublin City Library
space where art can be created locally. In 2001,                        In May, this year, Droichead partnered with        CityArts (formerly City Arts Centre)                            and Archive,
Droichead purchased Barlow House, a four-story                    Louth Local Authorities and Louth Leader in order        September 28th - October 19th 2006                              Pearse Street, Dublin 2
Georgian building on Main Street; and in spring                   to produce a trans-national group exhibition of
this year renovated the Artist Studios in the yard.               work by artists working or living in Louth. Iomha                                                                        For information and
                                                                                                                           Memory - Art - Power                                            bookings:
Currently there are four artist studios and one                   2006 was curated by Cliodhna Shaffrey and Ruairi         A symposium examining the importance of
sculpture space. These studios have added a new                   O Cuiv and offered a cross section of the best                                                                           CityArts / 01 6394608
                                                                                                                           archiving for cultural validation and development
dimension to the life of the building. In order to                                                                                                                               
                                                                  contemporary artwork in Louth at present. This           October 19th 2006
support this development, Droichead is hosting                    exhibition has enabled five Louth artists to travel to
informal discussions over the coming months                       Finland     facilitating   the     creation   of   new
focusing on experiences, good practices and                       international networks and training opportunities.
exploring projects happening locally, nationally                        Droichead is currently hosting an exhibition
and internationally.                                              of the work of Bill Viola (13 Sept – 13 Oct). The
    Droichead Visual Arts Programme aims to:                      show presents two major pieces by the artist;
  Present a dynamic contemporary art events                       Deserts and The Reflecting Pool.
  Inform, educate and foster the participation of                      In the long term, Droichead sees itself as a        Selected Works
  the community                                                   vibrant place where art, ideas, and discourse take
                                                                                                                           an exhibition of new work
  Develop networks and partnerships nationally                    place; and where the artist is supported through the     by members of
  and internationally                                             provision of studio space, exhibition space and          Black Church Print Studio
  Promote high professional standards in the                      networks, with appreciation and understanding
                                                                                                                           Original Print Gallery
  industry locally                                                from our staff and the public. We hope that
                                                                                                                           7-28 September
  Be recognised for new developing work and                       Droichead, though engaging with artists to create
  pushing the boundaries.                                         stimulating exhibitions, will feed into and              Exhibition opens:
     The gallery runs a call for submissions in                                                                            Wednesday 6 September, 6-8 pm
                                                                  influence other parts of our programme such as
August / September each year – all disciplines                    theatre and dance                                                                                          2158, Digital Image on Lithography Stone, 2006
/mediums     considered.      Droichead        pays      EPR                                                                                                                                               Janine Davidson
                                                                                                      Marcella Bannon
(exhibition payment right) and covers costs for                                                                                     Kate Betts, Lucy Braddell, Caroline Byrne, Janine Davidson, Aoife Dwyer,
insurance, invitation, reception – while transport                                                                                         Emma Finucane, Mary A Fitzgerald, Roisín Lewis, Anthony Lyttle,
and catalogue costs are also negotiable. The                                                                                               Tom Moore, Margaret Mc Loughlin, Naomi Sex, Vincent Sheridan

                                                                                                                                             Original Print Gallery   Mon - Fri : 10.30am - 5.30pm
  SOME LOUTH CONTACTS                                                                                                                        4 Temple Bar Dublin 2    Sat : 11.00am - 5.00pm
                                                                                                                                       Sun : 2.00pm - 6.00pm
  The Basement Gallery,                                            Brian Harten, Arts Officer,
  Town Hall,                                                       Louth County Council,
  Crowe Street,                                                    Millennium Centre,
  Dundalk.                                                         Dundalk
  T: 042-9396437                                                   T: 042 9324375
  E:                                  E:
  Sile O’Sullivan, Arts Officer,
  Dundalk Town Council,                                            Bridge Street Studios,
  Town Hall,                                                       97 Bridge Street,
  Crowe Street,                                                    Dundalk.
  Dundalk.                                                         T / F: 353 (0) 42 935 1712
  T: 042-9396437                                                   W
                                                                   Highlanes Gallery,
  Tony Conaghy, Visual Arts,                                       St. Laurence Street,
  Droichead Arts Centre                                            Drogheda.
  Stockwell Street,                                                T: 041 9803311
  Drogheda.                                                        W:
  041 9833946
                                                30                                                                           The Visual Artists’ News Sheet                             September / October 2006

                                                                                                                                    for the four landmarks will be             announces a call to artists for
Scheme                                                                                                                              stg£250,000,                including      the Key West International
                                                                                                                                    construction & installation,               Airport. Step 1 is the request for
Visual Artists Ireland runs a Members’                                                                                              which will be carried out in               qualifications; then artists will
Discount Scheme, whereby over 90                                                                                                    phases subject to available                be invited to submit proposals.
                                                                                                                                    funding.       Application        form     To be considered submit proof
participating businesses and service
                                                                                                                                    available       on         web.      For   of previously completed large
providers nationwide offer 5–20%                                                                                                    information:                               scale projects-a maximum of 10
discount to VAI members holding a
valid membership card.
                                                               OPPORTUNITIES                                                        Telephone
                                                                                                                                    +44 1502 523394
                                                                                                                                                                               X 35mm slides, photographs or
                                                                                                                                                                               digital images on CD. Artists
                                                                                                                                    Www                                        should also submit a max of 10
Suppliers & services participating in the                                                                                                             images of other recent work, a
                                                 FUNDING                                Telephone
                                                                                                                                    Deadline                                   signed letter of interest & a
scheme include:                                                                         +353 87 6576349 or +353 1
                                                ARTS COUNCIL                                                                        29 September 2006                          résumé. Include name, address,
                                                                                        2869541 (Mon-Fri after 5pm )
Art Delivery                                    Awards for artists - Travel &
                                                                                                                                                                               telephone, e-mail, titles of
Artists Models                                  Mobility Award, ongoing. Deis
                                                                                                                                    MAKING WAVES                               works,      media,         dimensions,
Art Supplies                                    Scheme, ongoing. Commissions                                                        Artists experienced in site-               location of artwork, image name
Accommodation                                   Award, closing date Fri. 29 Sept.,                                                  specific work integrated with              or slide/corresponding number
                                                5.30pm. Title-by-Title Award,                                                       science & interested in working            & other relevant information. A
Book Binding                                                                            NSF
                                                closing date Fri. 17 Nov, 5.30pm.                                                   with students from secondary               full site description & request
Book Sellers                                                                            The National Sculpture Factory
                                                Revenue         Grants            for                                               schools. Porthcurno Telegraph              for qualifications is available
Canvas Suppliers                                                                        continues to update its services
                                                organisations 2007, opening                                                         Museum, West Cornwall seeks to             on-line. Contact: Nance Frank /
Ceramic Supplies                                                                        to artists & has recently
                                                date Mon. 18 Sept. 2006 &                                                           work with artists in a sci-art             Chair:
                                                                                        developed a self-contained
Cinema                                          closing date Fri. 20 Oct. 2006. 4.                                                  project, which aims to provide             Fax
                                                                                        'white' media studio, which
Darkroom Facilities                             Annual     funding      for     local                                               people with new ways of seeing             +1 306 295 4372
                                                                                        includes       wireless        Internet
DVD / CD Duplication                            authorities 2007, opening date                                                      the invisible world of the                 Email
                                                                                        access, a G5 Apple Mac, monitor,
Digital Video Editing                           Mon. 18 Sept. & closing date Fri.
                                                                                        printer, DVD, lightbox & other
                                                                                                                                    electromagnetic spectrum. A      
Engraving                                       20      Oct.   2006.         Further                                                series of installations will be            Www
                                                                                        office facilities. For information
Foundry Services                                information on all schemes is                                                       commissioned for the Museum      
                                                                                        about renting this facility or to
                                                available on the website.                                                           Gardens, work to be on site by             Deadline
Framing                                                                                 rent a space on the factory floor,
                                                Www                                                                                 Feb 08. Fee: stg£2,000 will be paid        4 October 2006
Glass Suppliers                                                                         contact the NSF:
                                                                                                        to each successful artist for
Graphic Design Services                                                                 Telephone
                                                                                                                                    research & development. A total            WYOMING
Hardware                                                                                021 4314353
                                                 STUDIOS                                                                            of stg£57,000 is available for             Artists worldwide are invited to
Lighting & Metal Design & Fabrication                                                                                               realisation.     The       project    is   submit proposals for the annual
Laser Eye Treatment                             LONGFORD                                                                            supported by the National                  juried      outdoor          sculpture
Memberships /Publication Subscriptions          Murphy Hall, Ballyduffy Moyne,           PUBLIC ART                                 Endowment            for      Science,     exhibition at Central Wyoming
Paint                                           Co.     Longford.      1      studio                                                Technology & the Arts. For                 College, 1 May 2007-1 Apr, 2008.
Paper Conservation                              remaining. 3 phase electricity.                                                     information:                               Submit material that represents
Photography Services                            night rate. For details contact                                                     Address                                    up to 3 works created or
                                                                                        New Technology Public Art
                                                Mick.                                                                               Mary Godwin, Director, PK                  proposed in the last 2 years.
Photography Supplies                                                                    Commission.             Call         for
                                                Telephone                                                                           Trust, Eastern Hse, Porthcurno,            Earthworks,              collaborative
Publishers                                                                              submissions for a public artwork
                                                086 100 4250                                                                        Cornwall TR19 6JX,                         pieces with Central Wyoming
Printers                                                                                for the south facade of the
                                                                                                                                    Email                                      College students & site-specific
Print Materials (fine art)                                                              original       auditorium,           The
                                                                                                                    art works are encouraged. All
Stone Suppliers                                                                         Junction.          Utilising         new
                                                                                                                                    Www                                        work submitted must be able to
                                                                                        technologies, the piece will
Textiles                                        MAYO                                                                                            withstand the cold & harsh WY
                                                                                        translate the activities of the
Theatre                                         Residential studio & house                                                          Deadline                                   winter, hot summer & be safe to
                                                                                        organisation onto its exterior &
Venue Hire                                      sublet available in Ballycastle,
                                                                                        give the building a clearly
                                                                                                                                    30 September 2006                          the public. A residency is also
Web Design                                      Co..Mayo. Newly built large 85                                                                                                 offered for the creation of a
                                                                                        defined visual identity within its
                                                m.sq. studio with natural light,                                                    ELIXIR                                     sculpture(s)         for     Outward
Web Gallery Software                                                                    surroundings. Fee: stg£60,000 to
                                                sea-facing windows & central                                                        Elixir is a 2-year digital arts            Westward 2007. The artist
                                                                                        include     fee,     production       &
                                                heating & recently renovated 3-                                                     programme, which aims to shed              chosen would have full access to
                                                                                        installation          costs.         For
Help us to develop the scheme!                  bedroom house (sleeps up to 7)                                                      new light on & celebrate some              the      college's       ceramic     &
                                                with all mod. cons. including                                                       of the less understood or                  sculpture      facilities.      These
If you are an artist using suppliers on a                                               Telephone
                                                central heating, open fires &                                                       'invisible' activities within              include kiln, foundry-bronze
                                                                                        Chris Rogers, Junction / +44 1223
regular basis and would like to recommend       Atlantic views. Available to let                                                    Gloucestershire Royal Hospital.            casting, stone & wood carving
them for the scheme please forward us their     all year, from 5 Sept 2006                                                          Elixir's curators are looking for a        equipment, an outside sculpture
contact details.                                (except Jul. & Aug.). Ballycastle
                                                                                                                                    wide range of work - video,                courtyard to work in, storage &
                                                is a quiet village on the North                                                     animation, text & sound, dance             on-campus housing. Interested
If you are a supplier looking for artists’      Mayo coast offering beautiful &                                                     & performance - to show on the             artists should make a note in
business and would like to participate in the   unspoilt landscapes, including
                                                                                                                                    Elixir screen, a dedicated 52"             their application. Images of
scheme please contact us with details of the    Ballycastle    beach,         Lacken                                                screen as part of a 2-year curated         actual work or drawings of
                                                                                        1 October 2006
goods & services that you provide and we will   strand,    Downpatrick         Head,                                                programme            of     on-screen      proposed artworks are required
                                                Ceide      Fields      Megalithic                                                   activity. Exhibition fees paid.            with up to 3 views of each
include you on the Discount Scheme Listing.                                             SUFFOLK
                                                settlement & the Western Way                                                        For information & details on               sculpture. Submit registration
                                                                                        Call for artists experienced in
                                                Atlantic walks. Ballinglen Arts                                                     how to submit a work:                      form; written proposal, detailed
 To see a current copy of the discount                                                  public art. Design applications
                                                Foundation is also close by.                                                        Email                                      description including material/s
                                                                                        based on the theme of Energy &
 scheme listing go to:                          Long-term      lets        preferred,                                                       &        complete          installation
                                                                                        the Environment invited for a              minimum 1 month. Rent 700                                                           Www                                        instructions for artwork, if
                                                                                        series of 4 sculptural landmarks,
                                                per month for house & studio                                                                      applicable;          a       creation/
 Visual Artists Ireland,                                                                to be sited on roundabouts
                                                excluding bills, 1 month rent &                                                     Deadline                                   installation schedule; a budget if
                                                                                        along the South Lowestoft Relief
 Cnr. Halston St & Mary’s Lane, Dublin 7        1 month deposit payable in                                                          Ongoing                                    applying for an honorarium;
                                                                                        Road. Short-listed artists will be
 T: 01 872 2296 F: 01 872 2364                  advance. 20% discount on over                                                                                                  images of existing or proposed
                                                                                        contacted by 6 Oct. Design fee of
 E:                       rentals over 3-months. For
                                                                                        stg£800 will be offered to 4
                                                                                                                                    FLORIDA                                    artwork in slide, digital print or
                                                enquiries contact Rosie.                                                            The Monroe County Art in                   jpg format; résumé/CV & artist's
                                                                                        short-listed        artists.    It    is
                                                                                                                                    Public      Places         committee       statement. Enquiries to:
                                                                                        envisaged that the total budget
The Visual Artists’ News Sheet                        September / October 2006


Address                               LIGHT WORK, SYRACUSE                      Fax                                      self-contained studio apartment           designers & artists working             meets 4 times a year. For
Nita Kehoe-Gadway, Gallery            Autograph        ABP         is     an    +1 315 797 6639                          with courtyard garden; full               creatively in all areas of              information:
Director, Central Wyoming             international photographic arts           Email                                    access to adjoining studio                contemporary                jewellery   Www
College,     2660     Peck    Ave.,   agency established in 1988. Our                   including litho/intaglio press &          practice. There is no age limit,
Riverton, WY 82501                    primary role is to develop,               Www                                      equipment, silk screen facilities,        but students will not be eligible       Deadline
Telephone                             exhibit & publish the work of                      digital imaging & conventional            to apply. Awarded to UK makers          Ongoing
+1 307 855 2211                       photographers & artists from              Deadline                                 darkroom            facilities       &    for excellence, innovation &
Email                                 culturally diverse backgrounds            1 November 2006                          undercover outside work space.            significant     contribution       to   NEW YORK                        & to act as an advocate for their                                                  Residency includes a 4-week               jewellery produced in the last          The Women's Studio Workshop
Deadline                              inclusion in all mainstream               VERMONT                                  Gallery      display       of    work     six years. Applicants are invited       offers studio fellowships to
1 November 2006                       areas of exhibition. Submissions          Vermont Studio Center. Next              completed during the residency.           to compete for the stg£30,000           allow artists time to explore
                                      for residency are invited from            Full Fellowship. The Vermont             For information:                          award, which is one of the most         new ideas. Fellowship recipients
RESIDENCIES                           artists working in photography            Studio Center (VSC) offers year-         Email                                     significant art prizes in the           are awarded on-site housing &
                                      & related media, particularly             round 2-12 week independent                    country. For information:               24-hour access to the studios. 4-
LIFT BLUE ROOM RESIDENCY              work that addresses issues                residencies for artists & writers.       Www                                       Address                                 6 week sessions are available
Emerging & mid career artists.        relating to cultural identity,            Residents receive a private                             Jerwood Applied Arts Prize              every year, Sept-Jun. Technical
Residency        programme      to    social change, human rights &             studio, room & 3 meals each day          Deadline                                  2007:Jewellery, Crafts Council,         assistance     is   available   for
occupy a dedicated workspace          historically-marginalised                 plus      access    to   prominent       1 October (for residencies May 07)        44a Pentonville Rd, London, N1          US$35/hour. Interested artists
for research, development &           practice. Syracuse University, 3-         visiting artists & writers who                                                     8BY                                     should submit an application
experimentation         &       an    30 June. Fee: US$4,000 stipend            offer slide talks, studio visits, &      TAIWAN                                    Telephone                               form (available on-line), a 1-
administrative base for up to 6-      for   living     &      production        readings. Low Residency MFA              The Taipei Artist Village (TAV)           +44 (0) 20 7806 2501                    page letter of intent, résumé, 10
weeks. Lift offers resident artists   expenses, private darkroom,               also available. VSC also awards          International               Artist-in-    (Tues-Fri 11-5.45)                      slides of recent work, a slide
the     opportunity     to   work     furnished apartment, access to            200 Full Fellowships annually            Residence (AIR) Program was               Www                                     script (including title, media,
alongside the artistic vision of a    photo & computer lab facility.            for 4 week. Residencies. A               established to facilitate creative                dimensions, & date) & an SASE.
progressive arts organisation &       To apply send CV, artists                 portion of these Fellowships             intercultural       encounters       &    Deadline                                Address
to engage with a network of           statement including how the               will be awarded at the deadline          collaborations between artists            12 noon, 25 September 2006              Women's Studio Workshop, PO
local & international artists,        residency would benefit your              & are available to all applicants.       from       Taiwan & the world.                                                    Box 489, Rosendale, NY 12472
publics      &      professionals.    practice (up to two sides of a            Additionally,       some       Special   Artists        from           different   R & D AWARDS                            Telephone
Resident artists provide their        sheet of paper), up to 18 slides /        Fellowships will be awarded.             disciplines at all levels of              Up to 4 research & development          +1 845 658 9133
own materials & equipment             jpegs (CD or DVD, format                  For information:                         professional development come             awards for new ideas exploring          Email
(beyond those made available          accessible to Adobe Photoshop             Www                                      together       in      4-12      week     open space in urban & rural   
by Lift) & cover living expenses,     CS 8.0 on a Mac OS X platform)                residencies. Artists are selected         contexts. Awards of up to               Www
accommodation & travel.               of recent work or current                 Deadline                                 on the basis of the quality of            stg£10,000 each. Bright Sparks is
Address                               projects,      any      supporting        2 October 2006                           their work, capacity to work              a unique opportunity for UK &           Deadline
Nicky Petto / +44 20 7490 3964        material you feel relevant, &                                                      across disciplines & interest in          non-UK individuals & / or               1 November 2006
Email                                 SAE to:                                   CANADA                                   interacting with the general              groups working in any creative                Address                                   The Banff Centre offers self-            public in Taipei City. There are          practice to develop well defined        EXHIBITIONS
Www                                   Autograph                          ABP    directed creative residencies to         two options for which artists             research focusing on new ideas      AUTORESIDENT,           74        Great   artists    3   times     per     year.   may        apply:     Self-Financed       relating to open space within           DUBLIN
_development/blue_room_resi           Eastern St, London EC2A 3JG,              Residencies vary in length,              Residencies : The fee for                 the British Isles, relative to the      Talbot Gallery & Studios seek
dencies/                              Www                                       however they must begin on a             residents is US$600 for a                 UK's current intellectual &             submissions from artists for an
                                                     Monday & be a minimum of 5               residency of 4 weeks. These               political trends. Bright Sparks is      exciting group show of small 2D
GERMANY                               Deadline                                  days. The residency provides             residencies         are       partially   concerned       primarily       with    works, in December 2006. For
Akademie Schloss Solitude is          28 September 2006                         time & space for artists to work         subsidized by TAV. Accepted               research towards a specific             further    information      please
offering approx 60 residency                                                    within a creative environment.           Artists may remit payments by             outcome that is conceptually            contact Elaine Grainger.
fellowships of 6-12 months in         NEW YORK                                  Some financial assistance is             bank transfer prior to arrival or         challenging       rather        than    Telephone
duration         to international     Sculpture Space invites artists to        available.     Interested      artists   pay upon arrival. Full Subsidy            completion of a final product.          +353 1 8556599
artists. Applications welcome         apply for a residency between             should submit an application             Residency: Each year, TAV will            Www                                     Email
from Artists in the disciplines:      Sept. 2007 & Aug. 2008. 20 new            form, application checklist,             select international artists &           
Architecture         (architecture    artists are selected each year &          detailed project proposal &              sponsor them, providing free              Deadline                                Www
design, urban studies, landscape      each receives a $2,000 stipend            timeline, a biography & project          accommodation & studio. For               6 October 2006                
design), Visual arts (including       towards residency expenses.               summary, an artist statement,            details:                                                                          Deadline
performance art & curatorial          The selection is made by the              resource request forms, a list of        Www                                       HENRY MOORE FOUNDATION                  10 October 2006
practice),    Performing      arts,   Sculpture       Space         Review      works, CV, 2 references, an SASE,           The Esmée Fairbairn Arts &
Design, Literature, Music/sound       Committee & a rotating guest              application fee of $47, 10 slides        _apply.htm                                Heritage Programme has agreed           DUBLIN
&     Video/film/new         media    panelist in Dec. Artists are              or digital images & reviews or           Deadline                                  funding over 3 years to the    is a new
(including video installation).       notified of decisions in Feb.             exhibition               catalogues      22 September 2006                         Henry Moore Foundation, with            commercial gallery recently
Each fellowship recipient is          Criteria are quality, originality         (optional). Visit the Web site for                                                 the goal of supporting artists &        opened on Benburb St, Dublin 7.
granted      1000 per month, in       & potential for growth. The               application         forms,        full    AWARDS / FELLOWSHIPS                     benefiting a large number of            The gallery space itself is small
addition to free lodging.             facility consists of 5,500 sq. ft.        requirements.                                                                      visual-arts projects across the         5 x 4 metres but its street facing
Address                               open studio space & one 400-sq.-          Address                                  O'MALLEY TRAVEL AWARD 06                  UK & N.Ireland              It is the   location should prove useful in
Akademie Schloss Solitude,            ft. private studio, located in            Banff     Centre,    107     Tunnel      An award of         2,600 sponsored       trustees' policy to support all         attracting new audiences &
Solitude 3, 70197 Stuttgart,          downtown Utica. A subsidized              Mountain Dr., PO Box 1020,               by Waterford Crystal will be              aspects of the arts in which            buyers with the Luas stopping
Germany                               3-bedroom apartment within                Station     28,    Banff,    Alberta,    presented to a painter with a             Henry Moore himself was                 every 8 minutes right outside.
Telephone                             walking distance of the studio is         Canada T1L 1H5.                          specific travel proposal. For             engaged: sculpture, drawing &           Thisisnotashop intends to give a
+49 711 99619 472                     available at low cost. Artists have       Www                                      submission guidelines:                    print-making         (all      freely   solo show to a different artist
Fax                                   24-hour studio access & are                  Www                                       interpreted in the case of              every month & is now inviting
+49 711 99619 50                      expected to stay for a 2-month            program.aspx?id=519                                 contemporary work). Esmée               artists to get in touch with
Email                                 work stay. Artists are responsible        Deadline                                 Deadline                                  Fairbairn      has      earmarked       regards to exhibiting. Contact             for materials, specialised tools, &       6 October 2006                           27 October 2006                           stg£150,000 to give annually to         Aideen:
Www                                   meals. For application from &                                                                                                the Henry Moore Foundation              Telephone              information see Web site:                 AUSTRALIA                                JERWOOD APPLIED ARTS                      between 2006 - 2008. Projects in        086 0858779
Deadline                              Address                                   Call for expressions of Interest         The Crafts Council & Jerwood              the UK may include the work of          Email
31 October                            Sculpture Space, 12 Gates St,             for 1-month residencies at 'The          Charitable                Foundation      artists   from    any        country;
                                      Utica, NY 13502                           Other Studio' in Townsville,             announce a call for entries for           overseas projects must contain a        Www
                                      Telephone                                 North Queensland. Residencies            the Jerwood Applied Arts Prize            British       component.         The
                                      +1 315 724 8381                           comprise an air-conditioned,             2007. Open to craftspeople,               Foundation's Grants Committee
                                                                                                                                                                 The Visual Artists’ News Sheet                              September / October 2006


WEB GALLERY                             video, sound, food, clothing &         stg£3,000 donation to a charity              Deadline                                    organising          a      series      of    Www
Binary Lane Call for Artists,           drawing. Artists selected by           of his/her choice. Of work sold              6 October 2006                              exhibitions in Leeds. The first of 
Submissions must include: 6 to          open submission & invited              50% of the sale price goes to the                                                        these will focus on artist                   Deadline
12 colour photographs or high -         artists, will exhibit their work at    artist & 50% to the NSPCC. For               BURY                                        multiples, e.g. books, sculpture,            1 November 2006
quality jpgs of your work; an           Wexford Arts Centre from 2-23          information:                                 Call to artists who work with               print, video, sound etc alongside
Arts-related C.V. & price points.       Dec. A website will profile all        Www                                          maps or explore the theme of                small wall hanging work (not                 NEWYORKRIOTOKYO
Send completed submissions by           the works online. Seconds :: the                mapping. Bury Art Gallery is                larger than 50cm sq). Entry fee              Call to artists & curators.
email or by post.                       imperfect artwork is curated by        Deadline                                     currently         developing          an    stg£5     (payable          to      Artist   NewYorkRioTokyo is a network
Address                                 Aileen Lambert. For application        22 September 2006                            exhibition that will investigate            Community Workshops). To                     of artists, designers & curators &
Hazel McCrann, 17 Norseman              form, brief, floor plans &                                                          the possibilities of maps &                 apply     send          images,       CV,    aims to create an international
Place, Stoneybatter, Dublin 7           photographs of the exhibition          LONDON                                       mapping. It will examine how                statement if relevant & £5 fee to:           network to promote & sustain
Email                                   space:                                 Jersey & Garden Galleries,                   artists have used & interpreted             Address                                      artistic practices. 'E 4' is their                    Telephone                              Osterly        Pk     House       invite     maps & explored systems of                  ACW, c/o Patrick Studios, St                 project room situated in a
Telephone                               053 9123764                            submissions                        from      mapping. The show will include              Mary's Lane, Leeds, LS9 7EH                  nightclub & restaurant in
0872029994 (after 4.30)                 Email                                  contemporary artists in all                  a   variety       of     forms   from       Telephone                                    Berlin, showcasing works that
Www                                         media to exhibit in an historic              cartographic, both historic &               +44 113 248 0040                             examine the creation of public                      Deadline                               setting close to central London,             contemporary maps, to mind                  Email                                        & private environments. To
Deadline                                6 October 2006                         throughout             2007.           For   maps & other diagrammatic                          apply      send      portfolio     on
29 September 2006                                                              information:                                 systems. We are interested in               Deadline                                     CD/DVD with CV & a short
                                        GALWAY                                 Address                                      the process of mapping & how                30 September 2006                            description of work to:
CORK                                    Galway Arts Centre will host           Arts Officer, Osterley Pk, Jersey            this has been abstracted &                                                               Address
Fetish in a box: Noun: 1. An            'Impressions 06' in December           Rd, Isleworth, TW7 4RB                       expanded into art. Bury Art                 AUSTRIA                                      NewYorkRioTokyo,
object that is believed to have         2006. Impressions is Irelands          Email                                        Gallery. 21 Apr - 14 July 2007. To          Gold - poverty was yesterday,                e.V., Eberswalder str. 4,
magical or spiritual powers,            largest open submission print          Natasha.nelson@nationaltrust.                apply email or send visuals &               Forum Festival, 20 Apr-5 May                 D-10437 Berlin
especially     such      an    object   exhibition. Application forms                                       details, including sizes & any              2007. Project proposals sough                Email
associated with animistic or            are now available on its website       Deadline                                     technical requirements about                for the festival programme from    
shamanistic religious practices.        or by contacting Galway Arts           1 October 2006                               available work to:                          all disciplines of art. Open to              Www
2. An object of unreasonably            Centre by phone or email. Work                                                      Address                                     anybody who lives within a         
excessive        attention         or   will be collected from selected        LONDON                                       MAPPING, Bury Art Gallery,                    100 journey radius (1-way) &               Deadline
reverence. 3. Something, such as        drop off points in Galway,             Call to international dealers,               Moss Street, Bury BL9 0DR                   who has an idea relevant to the              Ongoing
a material object or a nonsexual        Limerick, Cork, Dublin, Sligo &        curators,      artists,    a     unique      Telephone                                   topic: individual artists or
part of the body, that arouses          Belfast. Chris Plowman is this         Victorian Chapel exhibition                  0161 253 5878                               groups     of     artists,       cultural    FLORIDA
sexual desire & may become              year's adjudicator. Prize fund of      space. Services include 210sq. m             Email                                       workers         &          researchers,      Artists are invited to submit
necessary          for        sexual     1 ,500.                               of exhibition space; website                        initiatives       &       associations       applications for Sculpture Key
gratification. 4. An abnormally         Address                                documentation & promotion of                 Deadline                                    working in the field of art. For             West 2007 an annual exhibition
obsessive      preoccupation       or   Maeve Mulrennan / Visual Arts          show; extensive mailing list &               1 October 2006                              full details & to submit:                    of    contemporary          sculpture
attachment: a fixation. A call for      Officer, Galway Arts Centre, 47        press list; full invigilation                                                            Address                                      bridging 3 venues across the
artists to submit artwork based         Dominick St,Galway                     during exhibition opening; no                SITTING ROOM                                Forum Stadtpark, c/o GOLD,                   island     of   Key     West.      The
on this theme & contained               Telephone                              commission. For information:                 Artists' books are sought for a             Stadtpark 1, 8010 Graz, Austria              exhibition at Fort Zachary
within a box no bigger than             091 565886                             Address                                      show at the Alsager Gallery in              Telephone                                    Taylor Historic State Park opens
20X20 inches; the work will be          Email                                  Director, The Empire, 33a                    December. A handling show in                +43 316 827734                               Feb 25, 2007. Home to a civil-
curated by Sandra Minchin. Art or            Wadeson St, London E2 9DR                    which the exhibition area                   Fax                                          war-era fort, it is surrounded by,
work will be auctioned off on               Telephone                                    becomes       a        sitting   room,      +43 316 827734 21                            wooded areas, beaches, the Gulf
the closing night of Art Trail.         Www                                    +44 20 8983 9310                             complete          with       bookcase,      Email                                        of Mexico, & Atlantic Ocean. All
There will be a reserve price of                Email                                        armchairs,        coffee     table    &                       outdoor sculptural media will
  50 euro on all boxes or a             Deadline                                      wallpaper. Submissions now                  Www                                          be considered at this venue, but
higher reserve if specified by the      31 October 2006                        Www                                          taken for books that work on                         work must be able to withstand
artist. Submission fee is        12 &                                                  the theme of Sitting Room, be               Deadline                                     tropical sun, occasionally high
should be submitted with the             EXHIBITIONS                                                                        that domesticity, living spaces,            2 October 2006 (postmark)                    winds, & interaction with park
work. 100% of the selling price          INTERNATIONAL                         JERWOOD ARTANGEL OPEN                        seating areas or any way you                                                             visitors. In addition, 2 historic-
will go to the artist. Works must                                              Arts practitioners including                 choose to interpret the title of            CANADA                                       civil-war brick forts, the East
not     have    been     previously     LONDON                                 (but not limited to) visual                  the show. For information:                  Haptic, call for Proposals. Our              Martello & West Martello, can
exhibited.         For        further   Contemporary art competition           artists,                  filmmakers,        Email                                       physical connection to objects               accommodate limited indoor &
information:                            held across the UK & supported         choreographers,           composers,                  /    & spaces is essential to our                 outdoor         installation/multi
Telephone                               by a number of sponsors                writers, theatre practitioners,                              being in the world: in the                   media/video/electronic media.
021 4961449                             including                Barclays,     applied artists & producers                  Deadline                                    environments we inhabit, in the              The Martellos exhibition opens
Email                                   Communisis & Candid Arts               living anywhere in the UK.                   30 September 2006                           ways we relate to one another &              Jan14, 2007. Exhibitions at all                        Trust. The aim is to offer artists     The Jerwood Artangel Open is a                                                           in the products we create.                   locations close, Apr 14, 2007.
Deadline                                the opportunity to exhibit their       new            stg£1             million     OPEN SCULPTURE 2007                         CAFKA invites proposals for                  Site-specific work is encouraged
5pm, Friday 22 September 2006           work to the general public, to         commissioning initiative for                 Call for Entries, Open Sculpture            new or existing works that                   for      all    venues.      Limited
                                        gain exposure & to raise               the     contemporary            arts    in   2007, Royal West of England                 engage with the theme & the                  assistance      is    available.    A
WEXFORD                                 stg£20,000 for the NSPCC &             association with Channel 4 &                 Academy, Bristol, 21 Jan - 11 Mar           environment in & around                      catalogue will be produced.
The Imperfect Artwork, call for         other charities. Up to 70              Arts Council England. This fund              2007. For details & a submission            Kitchener City Hall. Works in                Application          fee      US$25.
submissions.       Wexford       Arts   artworks will be selected &            will make 3 outstanding new                  form send an SSAE or see web:               all media will be considered                 Information on-line or by
Centre       invites     Irish     &    displayed at the Barclays Global       commissions                     possible.    Address                                     including                    sculpture,      sending an SASE:
international artists working in        Headquarters in Canary Wharf           Proposals are invited from arts              Open Sculpture 2007, RWA,                   performance,            video,    audio,     Address
all art forms, to respond to the        & then at Candid Arts Trust in         practitioners to respond to                  Queen's Rd, Clifton, Bristol, BS8 1PX       installation,            photography,        Sculpture Key West, PO. Box 7,
idea of failure, to consider how        Angel Islington from 2 - 12 Nov        specific sites & situations across           Www                                         painting, drawing & new media.               Key West, FL 33041
they deem an artwork a success,         2006. Paintings that have not          the UK. At this stage we are not                                 CAFKA.07 will create a video                 Telephone
and how they decide when a              been selected for the exhibition       looking for fully worked-up                  Deadline                                    compilation to be screened                   +1 305 295 3800
work is finished or not. Seconds        will    be   uploaded     to     the   project plans or budgets, but for            20-24 November 2006                         during      the         Forum.        The    Email
is an exhibition of multiples,          competition's website where the        bold       &        brilliant      ideas.                                                exhibition will take place in &    
which explores the idea of the          public will be able to view &          Application forms & guidelines               LEEDS                                       around Kitchener City Hall at                Www
faulty or imperfect artwork.            purchase them. Visitors to the         available from:                              ACW, an artist-run, not for                 the end of Sept, 2007. Artist Fees 
Works of all formats will be            exhibition will be asked to vote       Www                                          profit organisation supporting              paid. For full details:                      Deadline
considered                including     for their favourite piece. The         www.thejerwoodartangelopen.                  artists & the wider community               Email                                        1 October 2006
performance, artists' books,            winning      artist   receives     a                                       through arts based activities, is 
The Visual Artists’ News Sheet                               September / October 2006


                                        shown on               single screen.      with         submissions.           For   exchanges. Open to artists              Firkin Crane Centre, Shandon,             perceptions of presenting &
                                        Accomondation              &      travel   information & application pack            worldwide, artists are invited to       Cork on Sat. 30 Sept, 12-3pm.             experiencing art in a rural
BRITDOCART                              expenses are responisbility of             send a cheque for £20 payable to          make one or more ex-libris on           Light lunch included. Speakers            context, using the Beacon Art
Funding scheme to award up to           the artist. After the festival a           Bathing Beauties with A4 SAE              the theme 'Bread - cultural             will include Deirdre Nolan, who           Project as a starting point. Panel
4 artists stg£30,000 each to            catalogue will be available on-            (94p) to:                                 heritage', as the most general &        was pivotal in the formation of           members will include Adam
make a documentary film. The            line on the Festival website.              Address                                   multisided symbol. All works            Backwater studios, discussing             Sutherland,           Director         of
fund is open to artists from the        Www                                        PO Box 4203, Manchester, M60 1SP          must be conceived as ex-libris,         the possibilities of funding for          Grizedale Arts, Sally O'Reilly
UK & Ireland based anywhere in                             Www                                       i.e. as small-format art graphics       artists purchasing their own              writer & critic, Anne Douglas,
the world & also to foreign             Deadline                                         made to be pasted into books &          individual studios & Marie                principle researcher On The
artists currently based in the UK       1 October 2006                             Deadline                                  to identify their owner. An             Finucane from Limerick Art                Edge, Aberdeen & chaired by
& Ireland (for at least the last 6                                                 22 September 2006                         international Jury will select          School who will be discussing             Francois Matarasso Chair of the
months). The 4 finished films, 3-       RUSSIA                                                                               prizewinners. 1st prize       1,500,    similar issues but in a rural             Arts Council England, East
30 minutes long, will premiere          Call for entries for Videologia an         SPAIN                                     2nd prize         1,000 & 2 ex-equo     context where she has been                Midlands. The Beacon Art
at the ICA & tour leading               international festival of audio-           IX     Engraving         International    prizes of    500. See web for full      working on the formation of               Project is supported by Arts
regional      galleries    &   sites.   visual arts taking place in                Biennial "Josep de Ribera" 2007.          details;                                small     working          studios   &    Council England, East Midlands
Applications are welcome from           Volgograd, Russia, Nov. 2006.              This international prize is               Address                                 opportunities        for     dialogue.    & was launched in 2004 to bring
artists      working       together     Artists & directors working with           sponsored by the City Council             Ksenija Graovac, Balkankult             Coinciding with this seminar              new art & artists to a rural
collaboratively but should be           short         films,      video     art,   of Xantia & Rotary Club of                Foundation, Trg Nikole Pasica 1,        Art Trail will be meeting with            audience.       The       first    event
made by one individual from             animation, documentary films,              Xantia. Open to artists of any            11000 Belgrade, Serbia                  studios & independent artists to          attracted over 800 visitors aged
the team. Directors may be              net     art    &       various    visual   nationality. All techniques &             Telephone                               discuss the central role of open          between 1-75yrs. Conference fee
required for Q&A sessions               experiments are welcome to                 subjects allowed. Exhibition,             + 381 11 322 7441                       studios     in     the      Art   Trail   stg£15 per person includes visit
during this time. Channel 4 will        participate. All selected titles           Jan.    2007,          Valencia.    For   Email                                   programme & how the festival              to the project & lunch. For
have a 'first-look' option on the       will be screened in the cinema             information        &        application                can increase opportunities to             information & bookings:
completed films. If they decide         halls & art galleries & evaluated          form:                                     Www                                     show, sell & promote work                 Telephone
to exercise their option, they          by the independent jury & local            Address                                             through this artist led event. To         +44 1522 811 809
will be granted the television          audience. For information:                 Casa de Cultura, C/. Montacada,           Deadline                                this end we would be delighted            Email
rights & online rights for stg£1.       Address                                    7 - 46800 Xativa (Valencia),              15 December 2006                        to   meet        with      groups    &
All       other   rights       (DVD,    Yaroslav        V.     Khokhlov,     Do    Spain                                                                             individual artists contact:               Www
theatrical,          international      vostrebovaniya,             Volgograd      Telephone                                  CONFERENCES /                          Telephone                       
broadcast other than UK &               400066, Russia                             +34 96 228 23 04                           SYMPOSIA                               021 4961449 / Sheila
online) are retained by the             Email                                      Fax                                                                               Email                                     LONDON
filmmaker. For information:                           +34 96 228 98 09                          KILDARE                                                 International Art & Ecology
Telephone                               Www                                        Email                                     Temmporary State, the first                                                       Symposium, 11 & 12 Dec. 2006,
+44 20 7729 2087                                     symposium for Kildare-based             CREATIVE RURAL ECONOMY                    London School of Economics.
Email                                   06/07/fwdcalls-videologia-                 Www                                       artists will take place from the        Lancaster,       10-13     September      Key people from different              2006.html                                               27 Nov. 2006. Artists based in          2006 Following the success of             disciplines      concerned          with
Www                                     Deadline                                   Deadline                                  Kildare County are invited to           arts and urban regeneration               environmental issues have been           1 November 2006                            31 October 2006                           submit        applications       for    projects & urban-based cultural           invited to nominate ecologists,
itdocart.php                                                                                                                 participation in a weeklong             industries,       this     conference,    economists,             philosophers,
                                        60X60                                      WORLD CERAMIC BIENNALE                    symposium initiated by Kildare          developed & coordinated by                scientists,     geographers          and
FRANCE                                  Vox Novus want silent video                The     4th       World       Ceramic     County Council Arts Services.           Littoral Arts, will attempt to            anthropologists           to      discuss
Artists using film & video. La          shorts of 60 seconds or less               Biennale                 International    Over 5 days, artists will be            define an equivalent area for             pertinent issues - leaving space
Saison Video is an annual               which will be paired with audio            Competition            is    open    to   invited to take part in an              investment         in      the    rural   between for artists to respond,
programme of film & video               compositions from composers.               international   ceramists. It             inventive         programme       of    economy & suggest a strategic             show their work & explore the
work screened by Espace Croise          New York & worldwide. A                    includes the world's finest               workshop-based            activities.   programme of arts & rural                 challenges presented by the
in museums, cultural centres &          touring show throughout 06-07.             ceramic artists & focuses on              Proposals are invited from              regeneration & creative rural             current state of the ecology.
art schools across northern             Work submitted cannot have                 defining new values & creative            interested parties working in           industries projects that would            Further details:
France. Selected works will be          been screened previously. Details          direction for Contemporary                any discipline for participation.       be capable of supporting some             Email
included in the Saison Video            online.                                    Ceramics. Running 28 Apr-17               The event will demand full-time         of          the             economic,
catalogue. Include title, date,         Address                                    Jun, 2007, Korea. Submissions             commitment               (including     environmental, social priorities          Www
length & 250 words of text              60x60 VIDEO, c/o Robert Voisey,            invited      in    the       categories   evening activities) Mon-Fri. 7          as   outlined       in     the    Rural
about the work & state if you           Radio City Station, PO Box 1607,           'Ceramic for Use' & 'Ceramic as           places available. Please send a         Development Plan for England
want to be included in the              New York, NY 10101, USA,                   Expression'. Exhibition will be           current CV & letter stating why         (RDPE). The conference aims to:           VOLUNTEERING
catalogue. You can submit more          Email                                      held at the Icheon World                  you are interested in taking part.      - inform & widen the art sector's
than one piece of work, but put                       Ceramic Centre, Gyeonggi-do.              Address                                 engagement with issues in rural           ARTS & HEALTH
only one piece per DVD. Work            Www                                        The judging panel comprises 2             Temporary State - Symposium             & agricultural policy - promote           The Adelaide & Meath Hospital,
can’t be returned. To apply send                 Korean       &     3     international    Application,     Kildare Arts           the creation of a European Rural          Incorporating           the     National
DVD with name, address, email,          Deadline                                   members. The winners of the 7             Services, Riverbank, Arts Centre,       Biennale of art, agriculture &            Children's Hospital, Dublin, are
& phone number to:                      15 September 2006                          prizes will be announced on 2             Newbridge, Co.. Kildare                 rural creativity - frame a new            seeking       artists     willing      to
Address                                                                            Feb 2007. For information:                Telephone                               cultural strategy for agricultural        volunteer to facilitate art groups
ESPACE CROISE, Grand Place,             COMPETITIONS                               Www                                       045 448318                              change, rural development &               for patients. The hospital arts
BP 40534, 59059 Roubaix cedex                                                                Email                                   environmental sustainability,             office runs a busy programme of
1, France                               BATHING BEAUTIES                           Deadline                                     /   which could be taken forward as           arts activity for patients, with
Email                                   Call for professional artists,             6 October 2006                                   the basis for a possible CAP              two funded artists in residence                 architects & designers, national           (initial screening)                       www                                     Pillar    III:    European        Rural   & 12 artist volunteers. The
Deadline                                & international. Collaborations                                                                 Cultural                 Development      therapeutic art groups for
30 September 2006                       welcome. Competition for                   EXLIBRIS COMPETITION                                                              Programme. To book:                       patients reached the final of the
                                        seaside architecture, a superb             Balkankult Foundation, Ericarts           NEW STUDIO MODELS                       Telephone                                 Health      Service           Innovation
ESTONIA                                 stretch         of       Lincolnshire      Institute,       Turkish      Ex-Libris   Art Trail is hosting a café             +44 1706 827 961                          Awards in 2005 & the arts office
International                  Video    coastline. 4 prizes of stg£1,500           Society, The Bread Museum,                discussion        on   new    studio    Www                                       is   constantly           introducing
Performance Festival, Tallinn.          with a further stg£20,000 for              Ulm & Belgrade Ex-Libris Circle           models, which will be able to                        innovative arts projects for
December 2006. Performance              each winning entrant to build,             are organizing an international           operate in a new environment,                                                     patients & staff. Vacancies
artists all around the world are        deliver & install their proposed           ex-libris competition, to support         where traditional artists work-         ART IN RURAL AREAS                        currently exist for volunteer
invited to send proposals for           design. Submissions will be                co.-operation amongst persons             spaces      are     coming    under     Boston, Lincolnshire, 20 Sept.            artists in the dialysis unit & in-
INPORT. This is non-profit              scale model only. Additional               active in culture & media, artists        increasing         pressure    from     2006. The aim of this 1-day               patient wards (adult patients).
Festival with a very small              prize of stg£500 for best model            & entities & to help develop              commercial development. This            conference is to challenge &              This project would suit: Artists
budget so work can only be              entered. Entry fee: £20, refunded          trans-border cultural ties &              seminar will take place in the          question                   established    considering a career in art
                                                                                                                                                                               The Visual Artists’ News Sheet                                September / October 2006


therapy & /or arts in healthcare.                                                           250 (2 weekends);                            performance art - from the most               artists & designers living in the
Artists interested in gaining               FILMBASE COURSES                              Introduction to Bookbinding.                   traditional interpretations to                UK but now also featuring a                       DON’T FORGET to look at
experience in community art &               Upcoming courses at Filmbase:                 Sat 25 & Sun 26 Nov. Cost 150;                 those    integrating          advanced        selection of international artists.               the advertisments in
/or public art. Mature, reliable            Digital Foundation Course. 23                 Waterbased               Photo                 technologies, inanimate objects,              A small yearly fee is requested                   this VAN, also check our web
                                                                                                                                                                                                                                         site & subscribe to our
people with some experience of              Sept-10 Dec. This foundation                  Screenprinting. Sat 9 & Sun 10                 passersby, sites & beyond. All                after   a    3-month                free    no    e-bulletin for further
illness or disability & a caring,           course     is        run     over     nine    Dec. Cost 180. To book:                        submissions must include the                  obligation trial. The objective is                opportunities.
sensitive         personality.         A    weekends. It will take the                    Telephone                                      following, Video in DVD, VHS                  to overload the site with
commitment of 2 hours per                   participants           through         the    021 4322422                                    or miniDV format, Artist's name               creative talent to ensure it is                   BEWARE. While every effort
                                                                                                                                                                                                                                         has been made to ensure
week, on a regular basis, for a             filmmaking process from script                Email                                          &       resume,             Artist      &     visually stimulating & packed                     the accuracy of our
minimum of 4 months (16                     to screen & culminates in                                Commentator                       contact     with artists' resources. The site                 information we strongly
weeks)       is        required.       A    shooting two short films on DV.                                                              information (phone, mailing                   has a forum to exchange advice,                   advise readers to verify all
willingness & flexibility in                Cost:  900 waged /        800                 EAST LONDON UNI                                address,              &           e-mail),    topics include: 'Relinquishing                    details to their own
                                                                                                                                                                                                                                         satisfaction before
approach. The Arts Office offers            unwaged. For information:                     Applications invited for the                   Commentator's name & resume,                  your creative freedom,' under                     forwarding art work, slides
Induction, ongoing support &                Address                                       following                  Postgraduate        Brief   notes          outlining       the    general discussion & 'Beginner's                  or monies etc. with regard
training sessions from the Arts             Filmbase, Curved St, Temple Bar,              programmes - MA in Fine art,                   contents         of    the     proposed       Guide       to     Search             Engine      to opportunities.
Officer. Free car parking &                 Dublin 2                                      developing their practice in a                 commentary, A self-addressed                  Optimization'              under           web
refreshments while at hospital.             Telephone                                     professional context, students                 stamped envelope if materials                 design. Plus, there is an exciting
Opportunity to develop your                 01 6796716                                    initiate,          plan       &         take   need        to         be        returned.    new members section entitled
own work in a healthcare                    Email                                         responsibility for all aspects of a            Commentators can be curators,                 'think-tank' for brainstorming                    THANKS
environment (subject to                                         public exhibition or other                     critics, theorists, educators, or             potential ideas for creative                      In addition to the
approval of proposal). For                  Www                                           professional practice project.                 other individuals with a broad                projects.                                         information that is
information contact Carol Roe                                    MA            in           International       understanding of the artist's                 Www                                               forwarded directly to us,
or Deidre Cahill:                                                                         Contemporary Art & Design                      work & the greater art historical                         Visual Artists Ireland also
                                                                                                                                                                                                                                         exchanges with and sources
Telephone                                   GLASS                                         Practice, this MA examines,                    context. An artist cannot supply                                                                information from: A-N (The
01 414 2102                                 International Glass Artist Jayne              through creative practice, areas               his or her own commentary. The                FEMINIST ART ARCHIVE                              Artists’ Information
Email                                       Persico from Pennsylvania, USA                of convergence between art &                   video should be between 5-12                  The     Feminist           Art       Project,     Company); The International                          is teaching kiln formed glass                 design; science, technology,                   minutes in length. You will be                coordinated                at         Rutger      Sculpture Centre (New
                                                                                                                                                                                                                                         Jersey, USA) and the
                                            workshops, at Pangur Bawn                     media,                    anthropology,        contacted by 1 Nov. if work is                University,           is        a     3-year      National Sculpture Factory
COURSES                                     Studio, Co.. Cavan. A hands-on                ethnography, sociology, ethics,                selected. For information, Liz                celebration of women's impact                     Cork.
                                            workshop         where             students   sustainability & gender within a               Nofziger / Assistant Editor:                  on the art world & the feminist
DONEGAL                                     produce a number of individual                range              of        convergent        Www                                           art movement. The project
Tearmann,         A      Professional       pieces to take home. Materials                technologies.                   Students                   began in 2006 & incorporates
Development            &        Training    are included in course fees. 6                undertake the development of a                 ns/faq.cfm                                    exhibitions,           symposia              &
Programme for Artists is a cross            places per workshop. One day                  self-initiated research project                Deadline                                      commemorations                               at
border      Artist      Development         course in kiln-formed glass                   engaging with one or more of                   30 September 2006                             institutions around the US
Programme makes available an                jewellery suitable for beginners:             the disciplines; Graphic Arts,                                                               Event details are listed on-line.
outstanding            facility        &    Friday 22 Sept, 10am-5pm 150.                 Graphic Design, Moving Image,                   SERVICES OFFERED                             Rutgers          University                also
contemporary cultural resource              3- day workshop in kiln-formed                Photography,              Digital     Arts,                                                  maintains the Women Artists
to future arts administrators               glass open to beginners &                     Animation,              Illustration.     A    PRO CAMERA OPERATOR                           Archives National Directory, an
from both sides of the border.              experienced covers a variety of               proportion of the programme                    Artist / Professional camera                  on-line record of primary source
Taking inspiration from the                 techniques including Pate de                  can      be         studied         abroad.    operator available to make a                  materials        on        contemporary
gaelic       term           'Tearmann',     Verre,    Billet       Casting,        Frit   Professional Doctorate in Fine                 video record of your art. You                 women visual artists. Artists &
meaning sanctuary, this project             Casting, Pattern Bars, Vitrograph             Art, a practice-based research                 may want a record of an                       archivists may apply to list their
focuses on Donegal in terms of              & Embossing. Sat 23 - Mon 25                  degree. For information:                       exhibition,                  temporary        on-line archives. For more
landscape,             culture         &    September 10am-5pm                  395. To   Telephone                                      installation, or a performance.               information see;
environment. The programme is               book:                                         Sian Harris / +44 20 8223 3405                 You may be interested in                      Www
offered on a structured practical           Address                                       Email                                          capturing         your       'work      in
basis, in a culturally unique               Pat Rooney, Pangur Bawn Crafts,                                      progress. Have worked as a
context.      Modules            offered    1 Lime Tree, Drumroragh,                      Www                                            professional            TV        camera
include:                Lithography,        Ballyjamesduff, Co.. Cavan                                        operator & on               independent
Etching/Intaglio, Book-Making,              Telephone                                                                                    documentaries. Having your
Career                 Development,         049 8545118                                    PUBLICATIONS                                  artwork/exhibition                    shot
Contemporary Gaelic Culture,                Email                                                                                        professionally on video will
Video      Editing
Publishing. Applications are
welcome from people who can
                            -   Desktop
                                                                                          MIDLANDS ARTS & CULTURE
                                                                                          A new publication highlighting
                                                                                                                                         give you an alternative for
                                                                                                                                         illustrating your work. I would
                                                                                                                                         be happy to meet & consult
demonstrate a commitment to
completing this Irish/Gaelic                CORK PRINTMAKERS
                                                                                          the extent & diversity of the arts
                                                                                          in the midlands was launched
                                                                                                                                         with any artist interested in this
                                                                                                                                         possibility.           During         this
                                                                                                                                                                                          ART FOUNDRY LTD
mediated programme & who                    Evening & Weekend Courses in                  recently in Tullamore, Co..                    consultation, I can show you
either      work       in       an   arts   Fine Art Printmaking at Cork                  Offaly. The 34 page A4 magazine                examples          of        my       work.
                                                                                                                                                                                                        The Fine Art Foundry For Sculptors
environment, are interested in              Printmakers Oct - Dec. Night                  is a joint publication between                 Reasonable rates.
working as an artist or who are             Classes                       (10weeks):      the Arts Offices in Offaly, Laois,             Telephone                                                      Seeking the Perfect Cast
interested in working in Arts               Experimenting with Etching,                   Longford, Westmeath and the                    +353 (0) 863466221
Administration. This project is             Catherine Hehir. Tues nights,                 Arts Council in a bid to create a              Email
part-financed by the European               Cost    335; Intro to Stone                   greater       Midland             Cultural                                           ENLARGING, MOULDING, LOST WAX
Union through the Interreg IIIA             Lithography, Dominic Fee. Weds                Identity. Read more on our news                                                                               CERAMIC SHELL, SAND CASTING
Programme. The project is also              nights, Cost         305;                     section:                                        RESOURCES
                                                                                                                                                                                                        FINISHING, PATINATION & ERECTION
co.-funded        by     Údarás       na    Intro           to           Waterbased       Www
Gaeltachta. For information:                Screenprinting, Paul La Rocque.                     ART DIRECTORY
Judy Ní Ógáin / 353 (0)74
                                            Thurs     nights,           Cost
                                            Weekend Classes: Photo Etching
                                                                                   335.   tml                                            Are you a graphic / web
                                                                                                                                         designer,                 photographer,
                                                                                                                                                                                                        01 4542032
9531271                                     with Riston Film, Tony McClure.               PERFORMANCE ART                                illustrator or glassmaker, a                                   PHONE / FAX
Email                                       Sat 7 & Sun 8 Oct. Cost 170;                  Aspect: The Chronicle of New                   sculptor, fine artist or 3d                                    Willie Malone                     Papermaking, Dominic Fee. Sat                 Media              Art         welcomes        animator? In fact, anyone with a
Deadline                                    21 & Sun 22 Oct. Cost 170;                    submissions for Volume 9,                      passion for art & design. Why
31 August 2006                              Chinese Woodcut Masterclass.                  Performance. This issue will                   not join the artistic directory
                                            Sat & Sun 4, 5, 11 & 12 Nov. Cost             focus on the broad spectrum of                 &/ or forum? Primarily for

                                                                  Allyson Keehan, Silk Purse: Red, 2006, oil on canvas, 70 x 90 cm.

                                                                  Symptoms of Fetishism                           Panorama
                                                                  Frances Jung and Allyson Keehan                 Eamon O'Kane
                                                                  Ground Floor Gallery                            Ground and First Floor Galleries
                                                                  September 8 - October 14                        October 20 - December 02
                                       Continuing the Tradition
                                                                  6th Fingal International Fotofest               Artist in Residence
Bronze Art Ltd                                                    First Floor Gallery
                                                                  September 8 - October 14
                                                                                                                  Susan Connolly
Fine Art Foundry
Leaders in Fine Art Casting
For your next project contact: Cris Neumann or Rosemary Flavin.   Draíocht Blanchardstown Centre,
T: (3531) 8552452 F: (3531) 8552453 E:       Blanchardstown, D15
                                                                  T: 01 885 2610 F: 01 8243434
Bronze Art Ltd., Unit 3, Gaelic Street, Dublin 3                  W:

                                                                     Public Art Panel                                County
                                                                      Call for Artists                               Council
                                                                  Fingal County Council invites                   Locations:
                                                                  expressions of interest from artists            Sites within these locations are not
                                                                  wishing to sit on a Public Art Panel.           predetermined and due to the
                                                                  A considerable sum of money has                 broad nature of the call the “site” if
                                                                  been made available through the                 applicable will be decided by the
                                                                  Department of the Environment,                  artist.
                                                                  Heritage & Local Government Per
                                                                  Cent for Art Scheme associated                  Once selected the artist will be given a
                                                                  with the Fingal County Council                  sum to develop their proposal and
                                                                  Water Services Department.                      brief with the support of the Fingal
                                                                                                                  County Council Arts Office. Artists will
                                                                  We have no expectations as to the               sit on a panel for a period of two years.
                                                                                                                  Further information is available from
                                                                  outcome of the projects and are
                                                                                                                  the Fingal County Council Arts Office .
                                                                  opening up the commission to
                                                                  artists working in all mediums and              To Apply:
                                                                  all genres as Stated under the                  Send a recent C.V. , CD, Prints or Slides
                                                                  Department of Arts, Sport &                     (Max 10 Slides), Written Work,
                                                                  Tourism Per Cent for Art General                Photographs & a letter of interest
                                                                  Guidelines 2004.               describing your approach to public
                                                                                                                  art. N.B. All applications should be
                                                                                                                  clearly marked Fingal County Council
                                                                  For further information:
                                                                                                                  Public Art Panel.
                                                                                                                  Expressions of interest by:
                                                                  Applications to:
                                                                                                                  20 October 2006
                                                                  Caroline Cowley
                                                                  Public Arts Co-ordinator

                                                                  T: +353 1 870 8449
                                                                                                                             West Cork Arts Centre
Monaghan County Council                                                                                                         North Street, Skibbereen, Co.Cork,
                                                                                                                               T: +353 28 22090 F: +353 28 23237
“The Kavanagh Way”                                                                                                        

NRA Percent for Art Commission                    €100,000

2 Stage Competition
Monaghan County council invites submissions from artists
for a landmark site specific permanent artwork with a
budget of €100,000 under the Per Cent for Art Scheme for
the N2 Carrickmacross Bypass - “The Kavanagh Way” named  ,
after one of Irelands most renowned and celebrated poets,
who was born in Inniskeen, Co. Monaghan. Proposals are
invited from artists working either on their own or in              Stephen Brandes, Bed & Breakfast, permanent marker & acrylic on vinyl, 2005
collaboration with others. Selection will be by way of a
two-stage open submission competition and up to five                Fresh: Re-imagining the Collection
                                                                    Continues until 16 September
short listed artists will be invited to develop specific detailed
                                                                    A group exhibition alongside work from the Limerick City Gallery of Art Collection (LCGA).
proposals for second stage.                                         Participating artists include: Patrick Collins, Amanda Coogan, Jill Dennis, Neva Elliott, Ciara
                                                                    Finnegan, Marie Foley, Sam Ely and Lynn Harris, Alan Magee, Alice Maher, Linda Molenaar,
Further information & detailed brief from:                          Melanie O'Rourke, Alan Phelan, Oliver Sheppard and John Shinnors.
Joanne Behan, Public Art Manager,
                                                                    Stephen Brandes Chutz Paradiso
The Market House, Monaghan, Ireland.
                                                                    23 September - 21 October
 T: +353 (0)47 38162
                                                                    New two-dimensional and three-dimensional work from Cork based Stephen Brandes.
                                                                    Ranging from small paintings to large intricately detailed drawings, this exhibition sees the
Download Brief for Commission:                                      further development of the artist’s practice by introducing a 'sculptural' element to the                                         work.

Stage 1 Deadline: 5pm, Thurs. 26 October
                                                                                     Wicklow County Arts Office invites
                                                                                     submissions from Visual Artists for the
                                                                                     exhibition programme at the gallery
                                                                                     space, County Buildings, for 2007.

                                                                                    Applications are welcome in the following categories:
                                                                                    Wicklow Solo: Any medium
                                                                                    Wicklow Group: Any medium
                                                                                    National Group: Photography and digital media

                                                                                    Applications must be submitted on official application form.
                                                                                    Deadline for receipt of applications:
                                                                                    5pm Friday, 6 October 2006

                                                                                    Guidelines and application forms from:

                                                                                    Wicklow County Arts Office
                                                                                    County Buildings, Station Rd
                                                                                    Wicklow Town.
                                                                                    T: 0404 20155

School of Creative Arts
Applications of interest are sought, for part-time associate
lecturer hours, which may arise in the Academic Session 2006/07

                                                                                                                                                     Photograph, Ros Kavanagh
  1. Image-making & painting techniques in relation to
  contemporary arts practices.
  2. Image-making & printing techniques in relation to
  contemporary arts practices.
  3. Three-dimensional/fabrication techniques in relation to
  contemporary arts practices.
  4. Digital Video techniques & applications within contemporary
                                                                                   Call for Submissions
  arts practices.
  5. Photographic techniques & applications within contemporary
                                                                                   We are inviting artists and curators to engage with us in
  arts practices.
                                                                                   exploring our cultural identity through a series of exhibitions
  6. Art as Installation; practices & theory.                                      and projects in various social and environmental contexts.
  7. Art as Intervention; practices & theory.                                      Solstice is particularly, but not exclusively, interested in
  8. Art and performance and/or narrative; practice & theory.                      creative ideas that respond to, and interact with, various
  9. Research-based Art practices & theory.                                        aspects of contemporary life in Meath.
  10. Art and Curation/Facilitation practices & theory.
  11. Art and Criticism; practices & theory.                                       Applications should include a full CV, images, and detailed
                                                                                   proposals where appropriate.
  12. Critical and Contextual Studies in Art & Visual Culture.
  13. Critical Practices.
              To apply please forward a letter of application                      Applications to:
                                        & Curriculum Vitae to:     Closing Date:   Director, Solstice Arts Centre, Railway St, Navan,Co. Meath.
 Human Resources Office, Dun Laoghaire Institute of Art, Design    Noon, Friday,   Tel: (046) 909 2300
           & Technology, Kill Avenue, Dun laoghaire. Co. Dublin.   15 Sept. 2006
      T: 01 2144601/01 2144919 F: 01 2144700 E:              Deadline for submissions
                                                                                31 October 2006
              Open Exhibition
Sept 16 - Oct 8

For three weeks every year
Claremorris is truly a gallery without
walls... the town is full of surprises,
experiencing an exhibition has never
been more like a treasure hunt."
Andrea Schlieker, Curator of Fourth
Plinth Sculpture Project, Trafalgar
Square and Co-Curator of the British
Art Show 2005.

For information:
Tel: 087 6680107


Home Telephone:                             Mobile Phone:
Email:                                      Website:
Category of Membership:                     *   Professional           Associate           Friend

*If applying for Professional membership please tick which of the following apply. To qualify as a
Professional member you must meet a minimum of three of the below criteria. You do NOT need to
fulfil these criteria if you are applying for Associate membership.

    Degree or Diploma from a recognised third level college.
    One-person show (including time based events) in a recognised gallery or exhibition space.
    Participation in an exhibition / visual art event which was selected by a jury in which professional
    artists or recognised curators participated.
    Work has been purchased by Government, local authority, museum or corporate client.
    Work has been commissioned by Government, local authority, museum or corporate client.
    Have been awarded a bursary, residency, materials grant or otherwise grant aided by the Arts
    Council/Arts Council of Northern Ireland or other funding body.
    Have been awarded tax-exempt status by the Revenue Commissioners, or are on schedule D as a
    self-employed artist in Northern Ireland.

FEE ENCLOSED               All Ireland Standard Rate €50 / £35        Concessions Rate €25 / £18
                           Britain £4                                 Europe €65
                           Rest of World €70                          Friend €60

Payments are accepted by cheque cash or postal order. Cheques should be made payable to Visual
Artists Ireland. Cheques can be accepted in Euro or Sterling.

Visual Artists Ireland, Cnr. Halston St / Mary’s Lane, Dublin 7.
NB New address (from 18 Sept) 37 North Great Georges Street, Dublin 1.
T: 01 8722296 F: 01 8722364
E: info@visualartists.i e W:
                                                                                          BRONZE FOUNDRY

                                                                                         Andrew Clancy Cathode/Anode. 2005. Civic Offices, Main Street, Ballymun (5 x 3 x 4m)   .

                                                                                                                          CAST (Crucible art services & Technology)
                                                                                                                                   1a South Brown Street, Dublin 8
                                                                                                                                        T: 01 4530133 F: 01 4735029
                                                                                                                                              E: W:
                                                                                                                              Contact: Leo Higgins / Colm Brennan

                                                                                            national irish
                                                                                            visual arts library

                                                                                                                                Public Research Library of
The Ulster Hospital is building for the future . . .                                                                            20th Century & Contemporary
                                                                                                                                Irish Art & Design
Up to 9 individual commissions for integrated artworks worth between
£5000 and £40,000 will enhance the patient environment at the new
Maternity Hospital and will reflect the themes of “Life and Movement”
More information can be found on the web, by checking out the Ulster
Community and Hospitals Trust and exploring the Building for the Future
                                                                                                                                National College of
Expressions of interest are welcome from professional artists working in two                                                    Art & Design
or three dimensions wishing to be included in a select list for large and                                                       100 Thomas Street, Dublin 8
medium scale commissions for the brand new Maternity Hospital at the
Ulster Community &Hospital Trust set to open by Autumn 2007.
Artists should submit up to 10 images of recent work (slides, JPEGS, CDs or photos), a
short statement (200 words max) on current working practice and concepts in
response to the brief theme, a relevant CV details (max 2X A4 pages).

For information:
Eilís O Baoill / Arts Procurement Manager, UCHT Capital Development Team
College of Nursing, Ulster Hospital, Dundonald, Belfast, BT16 1RH
T:+44 (0)28 90 550434 ext 3115
E: eilis.o'
Deadline for submissions: 4pm,Thurs. 20 October, 2006

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