Dublin City Gallery The Hugh Lane free admission Dublin City Gallery The Hugh Lane houses the foremost public collection of contemporary art in Ireland; the gallery also has a dynamic temporary exhibitions programme often encompassing the permanent collection. http://www.hughlane.ie/events 2018-10-21T15:43:22+00:00 Point Blank What's New in 1.5? 2001-12-03T00:00:00+00:00 2001-12-03T00:00:00+00:00 http://www.hughlane.ie/67-whats-new-in-15 Joomla! 1.5 info.hughlane@dublincity.ie <p>As with previous releases, Joomla! provides a unified and easy-to-use framework for delivering content for Web sites of all kinds. To support the changing nature of the Internet and emerging Web technologies, Joomla! required substantial restructuring of its core functionality and we also used this effort to simplify many challenges within the current user interface. Joomla! 1.5 has many new features.</p> <p style="margin-bottom: 0in;">In Joomla! 1.5, you''ll notice:</p> <ul> <li>Substantially improved usability, manageability, and scalability far beyond the original Mambo foundations</li> <li>Expanded accessibility to support internationalisation, double-byte characters and right-to-left support for Arabic, Farsi, and Hebrew languages among others</li> <li>Extended integration of external applications through Web services</li> <li>Enhanced content delivery, template and presentation capabilities to support accessibility standards and content delivery to any destination</li> <li>A more sustainable and flexible framework for Component and Extension developers</li> <li>Backward compatibility with previous releases of Components, Templates, Modules, and other Extensions</li> </ul> <p>As with previous releases, Joomla! provides a unified and easy-to-use framework for delivering content for Web sites of all kinds. To support the changing nature of the Internet and emerging Web technologies, Joomla! required substantial restructuring of its core functionality and we also used this effort to simplify many challenges within the current user interface. Joomla! 1.5 has many new features.</p> <p style="margin-bottom: 0in;">In Joomla! 1.5, you''ll notice:</p> <ul> <li>Substantially improved usability, manageability, and scalability far beyond the original Mambo foundations</li> <li>Expanded accessibility to support internationalisation, double-byte characters and right-to-left support for Arabic, Farsi, and Hebrew languages among others</li> <li>Extended integration of external applications through Web services</li> <li>Enhanced content delivery, template and presentation capabilities to support accessibility standards and content delivery to any destination</li> <li>A more sustainable and flexible framework for Component and Extension developers</li> <li>Backward compatibility with previous releases of Components, Templates, Modules, and other Extensions</li> </ul> thanks 2001-12-03T00:00:00+00:00 2001-12-03T00:00:00+00:00 http://www.hughlane.ie/254-thanks General Enquiries info.hughlane@dublincity.ie <p>Thank you For Signing Up.</p> <p>Thank you For Signing Up.</p> The Studio 2001-12-03T00:00:00+00:00 2001-12-03T00:00:00+00:00 http://www.hughlane.ie/265-the-studio General Enquiries info.hughlane@dublincity.ie <p>7 Reece Mews<br />South Kensington<br />London<br /><br />In 1998, John Edwards, Bacon's sole heir, generously donated the entire contents of Francis Bacon's studio at 7 Reece Mews to The Hugh Lane. This remarkable donation is the most important received by the Gallery since it was established by Sir Hugh Lane in 1908. Its relocation and compilation of a database of the entire contents of over 7,500 items was one of the most ambitious projects undertaken by a museum or gallery.<br /><br />Francis Bacon lived and worked in 7 Reece Mews, South Kensington, London from 1961 until his death in 1992. The studio / residence was one of a short row of converted coach houses on a quiet cobble-stoned lane. The house was small and utilitarian in layout. The ground floor was almost entirely occupied by a large garage where Bacon kept surplus items from the studio. An extremely steep wooden staircase, with a rope for a handrail, led to a landing. On the left was Bacon's spartan bed-living room. Ahead was an eccentric kitchen-cum-bathroom. To the right was the studio, the most important room in the artist's life. Bacon said himself of his cluttered studio, "I feel at home here in this chaos because chaos suggests images to me." Bacon rarely painted from life and the heaps of torn photographs, fragments of illustrations, books, catalogues, magazines and newspapers provided nearly all of his visual sources. Some of the most significant studio items include seventy works on paper and one hundred slashed canvases. The vast array of artist's materials, household paint pots, used and unused paint tubes, paint brushes, cut-off ends of corduroy trousers and cashmere sweaters record the diversity of Bacon's techniques. It is from here that Bacon's stature grew into that of the pre-eminent figurative painter of the late 20th century. While Bacon occasionally looked for a new, grander place to work, he continually returned to this awkward but familiar room.</p> <p>7 Reece Mews<br />South Kensington<br />London<br /><br />In 1998, John Edwards, Bacon's sole heir, generously donated the entire contents of Francis Bacon's studio at 7 Reece Mews to The Hugh Lane. This remarkable donation is the most important received by the Gallery since it was established by Sir Hugh Lane in 1908. Its relocation and compilation of a database of the entire contents of over 7,500 items was one of the most ambitious projects undertaken by a museum or gallery.<br /><br />Francis Bacon lived and worked in 7 Reece Mews, South Kensington, London from 1961 until his death in 1992. The studio / residence was one of a short row of converted coach houses on a quiet cobble-stoned lane. The house was small and utilitarian in layout. The ground floor was almost entirely occupied by a large garage where Bacon kept surplus items from the studio. An extremely steep wooden staircase, with a rope for a handrail, led to a landing. On the left was Bacon's spartan bed-living room. Ahead was an eccentric kitchen-cum-bathroom. To the right was the studio, the most important room in the artist's life. Bacon said himself of his cluttered studio, "I feel at home here in this chaos because chaos suggests images to me." Bacon rarely painted from life and the heaps of torn photographs, fragments of illustrations, books, catalogues, magazines and newspapers provided nearly all of his visual sources. Some of the most significant studio items include seventy works on paper and one hundred slashed canvases. The vast array of artist's materials, household paint pots, used and unused paint tubes, paint brushes, cut-off ends of corduroy trousers and cashmere sweaters record the diversity of Bacon's techniques. It is from here that Bacon's stature grew into that of the pre-eminent figurative painter of the late 20th century. While Bacon occasionally looked for a new, grander place to work, he continually returned to this awkward but familiar room.</p> Sunday Sketching for 7+ year olds 2011-01-02T00:00:00+00:00 2011-01-02T00:00:00+00:00 http://www.hughlane.ie/287-2011-01-02 Dr. Margarita Cappock mcappock.hughlane@dublincity.ie <p><strong> </strong><strong>3 – 4pm<br /></strong></p> <p> </p> <p><em>Alphabet forms</em></p> <p>No booking necessary. Early arrival is recommended.</p> <p><strong> </strong><strong>3 – 4pm<br /></strong></p> <p> </p> <p><em>Alphabet forms</em></p> <p>No booking necessary. Early arrival is recommended.</p> Coffee Lecture - Music in the Tuileries Gardens 2011-04-06T00:00:00+00:00 2011-04-06T00:00:00+00:00 http://www.hughlane.ie/303-coffee-lecture-music-in-the-tuileries-gardens General Enquiries info.hughlane@dublincity.ie <p><strong>Wednesday 6 April, 11am </strong></p> <p>Edouard Manet, <em>Music in the Tuileries Gardens</em></p> <p>Lecturer: <strong>Jessica O’Donnell, Head of Collections</strong></p> <p>Talk followed by tea/coffee with lecturer. Fee €5.</p> <p>To book please contact the Gallery Reception on 01 2225564.</p> <p><strong>Wednesday 6 April, 11am </strong></p> <p>Edouard Manet, <em>Music in the Tuileries Gardens</em></p> <p>Lecturer: <strong>Jessica O’Donnell, Head of Collections</strong></p> <p>Talk followed by tea/coffee with lecturer. Fee €5.</p> <p>To book please contact the Gallery Reception on 01 2225564.</p> Mailing List 2001-12-03T00:00:00+00:00 2001-12-03T00:00:00+00:00 http://www.hughlane.ie/newsletter General Enquiries info.hughlane@dublincity.ie <p>Please enter your email address to be informed of forthcoming Exhibitions and Events at Dublin City Gallery The Hugh Lane.</p> <p>Please enter your email address to be informed of forthcoming Exhibitions and Events at Dublin City Gallery The Hugh Lane.</p> Coffee Conversations 2015-06-24T11:00:00+00:00 2015-06-24T11:00:00+00:00 http://www.hughlane.ie/1340-john-lavery General Enquiries info.hughlane@dublincity.ie <p>11am - 12pm.</p> <p><strong><em>St. Patrick’s Purgatory </em>by Sir John Lavery<em> </em></strong><span style="font-size: 12.1599998474121px; line-height: 1.3em;">with Frances Coughlan</span></p> <p><span>During these discussions participants are invited to join Gallery curators and guest speakers in an exploration of the Gallery's permanent collection, exhibitions and conservation projects, followed by tea or coffee with the speaker in the Gallery café, to allow for further discussion.  Fee €5</span></p> <p>11am - 12pm.</p> <p><strong><em>St. Patrick’s Purgatory </em>by Sir John Lavery<em> </em></strong><span style="font-size: 12.1599998474121px; line-height: 1.3em;">with Frances Coughlan</span></p> <p><span>During these discussions participants are invited to join Gallery curators and guest speakers in an exploration of the Gallery's permanent collection, exhibitions and conservation projects, followed by tea or coffee with the speaker in the Gallery café, to allow for further discussion.  Fee €5</span></p> The Golden Bough: Gavin Murphy: Remember 2010-11-04T10:45:23+00:00 2010-11-04T10:45:23+00:00 http://www.hughlane.ie/past/123-the-golden-bough-gavin-murphy-remember Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Curated by Michael Dempsey                           <br /><br />“Against our real world, which by its very nature is fleeting and worthy of forgetting, works of art stand as a different world, a world that is ideal, solid, where every detail has its importance, its meaning, where everything in it – every word, every phrase – deserves to be unforgettable and was conceived as such.” –Milan Kundera, The Curtain<br /><br />Gavin Murphy makes works through an assemblage of unique fabricated elements, sourced and found objects, video, sound and photography. Using cultural matter as his material-medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.<br /><br />For the Golden Bough, he uses critical and historical documents, texts from Flaubert to Fellini, Milan Kundera and Italo Calvino, and the hidden fabric of Charlemont House itself, to consider specifically the arts as system – ordering knowledge, ideas, and cultural history.<br /><br />Murphy’s practice has more and more come to question necessity in art, while refusing to define or distinguish the contemporary from the anachronistic, or accept definite perspectives. In this way the works oscillate between the wonder and futility of investigation: The Necessity of Ruins is a spoken work, made of collected fragments of texts and documents pertaining to the ruin, art and literature, the museum, and the novel. Eulogy to the Blank Page is a sculptural rendering of a section of dialogue from Fellini’s 8 ½, for which the artist commissioned a new typeface Personal (Stencil).<br /><br />Gavin Murphy is a Dublin-based artist and curator. His current project On Seeing Only Totally New Things – of which these works form part – is also to include a film, and a publication in collaboration with Atelier David Smith. He is the recipient of various Arts Council awards, and residencies at Gertrude Contemporary Art Spaces, Melbourne, and currently, Fire Station Artists’ Studios. He is co-curator of the art space, Pallas Projects.</p> <p>He has had solo exhibitions in Conical, Melbourne, and Institute of Contemporary Art, Newtown, Sydney, both 2009; The LAB, 2008, and Four Gallery, 2006, both Dublin. Group exhibitions include Dorm, The Model, Sligo; iPodism: Cultural Promiscuity in the Age of Consumption, Tulca, Galway; Frou-Frou Foxes in Midsummer Fires, Colony, Birmingham; Frontier with Green on Red Gallery; and Artists/Groups, Project Arts Centre.<br /><br />Curated projects include We are never at home as part of Dorm at The Model, Sligo; Anne Maree Barry, Rialto Twirlers, The LAB, Dublin; Automatic curated with Chris Fite-Wassilak; and Darklight Compendium Vol. 1. He was co-coordinator of House Projects – a series of seven exhibitions in New York, London and Ireland, and was editor of the publication of the same name.</p> <p>Curated by Michael Dempsey                           <br /><br />“Against our real world, which by its very nature is fleeting and worthy of forgetting, works of art stand as a different world, a world that is ideal, solid, where every detail has its importance, its meaning, where everything in it – every word, every phrase – deserves to be unforgettable and was conceived as such.” –Milan Kundera, The Curtain<br /><br />Gavin Murphy makes works through an assemblage of unique fabricated elements, sourced and found objects, video, sound and photography. Using cultural matter as his material-medium, he references art, history and theory to form a spatial and temporal narrative arc made up of intercommunicating texts, combined with an interest in the sculptural possibilities of cinematic structures and mise en scène.<br /><br />For the Golden Bough, he uses critical and historical documents, texts from Flaubert to Fellini, Milan Kundera and Italo Calvino, and the hidden fabric of Charlemont House itself, to consider specifically the arts as system – ordering knowledge, ideas, and cultural history.<br /><br />Murphy’s practice has more and more come to question necessity in art, while refusing to define or distinguish the contemporary from the anachronistic, or accept definite perspectives. In this way the works oscillate between the wonder and futility of investigation: The Necessity of Ruins is a spoken work, made of collected fragments of texts and documents pertaining to the ruin, art and literature, the museum, and the novel. Eulogy to the Blank Page is a sculptural rendering of a section of dialogue from Fellini’s 8 ½, for which the artist commissioned a new typeface Personal (Stencil).<br /><br />Gavin Murphy is a Dublin-based artist and curator. His current project On Seeing Only Totally New Things – of which these works form part – is also to include a film, and a publication in collaboration with Atelier David Smith. He is the recipient of various Arts Council awards, and residencies at Gertrude Contemporary Art Spaces, Melbourne, and currently, Fire Station Artists’ Studios. He is co-curator of the art space, Pallas Projects.</p> <p>He has had solo exhibitions in Conical, Melbourne, and Institute of Contemporary Art, Newtown, Sydney, both 2009; The LAB, 2008, and Four Gallery, 2006, both Dublin. Group exhibitions include Dorm, The Model, Sligo; iPodism: Cultural Promiscuity in the Age of Consumption, Tulca, Galway; Frou-Frou Foxes in Midsummer Fires, Colony, Birmingham; Frontier with Green on Red Gallery; and Artists/Groups, Project Arts Centre.<br /><br />Curated projects include We are never at home as part of Dorm at The Model, Sligo; Anne Maree Barry, Rialto Twirlers, The LAB, Dublin; Automatic curated with Chris Fite-Wassilak; and Darklight Compendium Vol. 1. He was co-coordinator of House Projects – a series of seven exhibitions in New York, London and Ireland, and was editor of the publication of the same name.</p> Richard Tuttle: Triumphs 2010-11-19T10:59:37+00:00 2010-11-19T10:59:37+00:00 http://www.hughlane.ie/past/124-richard-tuttle-triumphs General Enquiries info.hughlane@dublincity.ie <p><em>Richard Tuttle: Triumphs </em>at Dublin City Gallery The Hugh Lane is a site specific exhibition and collaboration with the artist. Responding to the local as encountered in the early Georgian architecture of the main gallery Charlemont House (designed by Sir William Chambers and built in 1765) and to The Hugh Lane collection (established in 1908), Richard Tuttle has installed a polysemous multipart horizontal installation in the gallery’s new wing (2006). In works such as the shaped plywood wall reliefs of the 1990’s to recent handmade printed paper assemblages, Richard Tuttle configure his artworks in new forms that have emblematic meaning to his interest the Augustan era and its polysemous aesthetics.<br /><br />Neo classicism, the governance of imperial states and the power of the visual to silence language is revealed in <em>Triumphs</em>. Richard Tuttle’s reputation as one of the leading postminimalist artists rests on his persistently unconstrained art practice using improvisational working procedures and non-traditional materials.  The multiplicity of concepts is successfully realised through work that uses a paucity of means but which has a robust and enriching impact on the viewer.<br /><br />An overlapping ‘Triumph’ curated by Barbara Dawson and Michael Dempsey, illuminates the main exhibition.  It begins with work from the mid 1960s through to the present, and includes a new installation of <em>Village V</em> (2004) in Lord Charlemont’s salon.<br /><br />Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice.<br /><br />An artist of seminal importance in the international world, Richard Tuttle has had one-person exhibitions at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; ICA Philadelphia; Kunsthaus Zug, Switzerland; Centro Galego de Arte Contemporánea, Santiago de Compostela; and the Museu Serralves in, Porto, Portugal. SFMoMA organized a 2005 Tuttle retrospective. This is the first museum show by Richard Tuttle in Ireland and we are honoured that he has agreed to work with The Hugh Lane curatorial team.<br /><br /><a href="http://artforum.com/archive/id=27485" target="_blank">Featured in artforum.com's Critics' Picks</a></p> <p><em>Richard Tuttle: Triumphs </em>at Dublin City Gallery The Hugh Lane is a site specific exhibition and collaboration with the artist. Responding to the local as encountered in the early Georgian architecture of the main gallery Charlemont House (designed by Sir William Chambers and built in 1765) and to The Hugh Lane collection (established in 1908), Richard Tuttle has installed a polysemous multipart horizontal installation in the gallery’s new wing (2006). In works such as the shaped plywood wall reliefs of the 1990’s to recent handmade printed paper assemblages, Richard Tuttle configure his artworks in new forms that have emblematic meaning to his interest the Augustan era and its polysemous aesthetics.<br /><br />Neo classicism, the governance of imperial states and the power of the visual to silence language is revealed in <em>Triumphs</em>. Richard Tuttle’s reputation as one of the leading postminimalist artists rests on his persistently unconstrained art practice using improvisational working procedures and non-traditional materials.  The multiplicity of concepts is successfully realised through work that uses a paucity of means but which has a robust and enriching impact on the viewer.<br /><br />An overlapping ‘Triumph’ curated by Barbara Dawson and Michael Dempsey, illuminates the main exhibition.  It begins with work from the mid 1960s through to the present, and includes a new installation of <em>Village V</em> (2004) in Lord Charlemont’s salon.<br /><br />Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice.<br /><br />An artist of seminal importance in the international world, Richard Tuttle has had one-person exhibitions at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; ICA Philadelphia; Kunsthaus Zug, Switzerland; Centro Galego de Arte Contemporánea, Santiago de Compostela; and the Museu Serralves in, Porto, Portugal. SFMoMA organized a 2005 Tuttle retrospective. This is the first museum show by Richard Tuttle in Ireland and we are honoured that he has agreed to work with The Hugh Lane curatorial team.<br /><br /><a href="http://artforum.com/archive/id=27485" target="_blank">Featured in artforum.com's Critics' Picks</a></p> The Studio 2006-12-01T18:26:00+00:00 2006-12-01T18:26:00+00:00 http://www.hughlane.ie/past/127-the-studio Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Participating Artists: John Baldessari, Daniel Buren, Thomas Demand, Gerard Byrne, Urs Fischer, Peter Fischli / David Weiss, Isa Genzken, Andrew Grassie, Martin Kippenberger, Paul McCarthy, Bruce Nauman, Perry Ogden, Martha Rosler, Dieter Roth, Frances Stark, Wolfgang Tillmans, Ian Wallace, Andy Warhol.</p> <p>Curated by Jens Hoffman and Christina Kennedy.</p> <p>Participating Artists: John Baldessari, Daniel Buren, Thomas Demand, Gerard Byrne, Urs Fischer, Peter Fischli / David Weiss, Isa Genzken, Andrew Grassie, Martin Kippenberger, Paul McCarthy, Bruce Nauman, Perry Ogden, Martha Rosler, Dieter Roth, Frances Stark, Wolfgang Tillmans, Ian Wallace, Andy Warhol.</p> <p>Curated by Jens Hoffman and Christina Kennedy.</p> Tacita Dean 2007-03-22T18:26:00+00:00 2007-03-22T18:26:00+00:00 http://www.hughlane.ie/past/128-tacita-dean Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Dublin City Gallery The Hugh Lane hosts British artist Tacita Dean’s first solo exhibition in Ireland. Based in Berlin since 2000, Tacita Dean trained as a painter and works in a variety of media. She is best known for her compelling 16mm films, in which the specific qualities associated with film-making are of central importance. The still nature of her films invokes associations with the qualities of painting.</p> <p>Running through all Tacita Dean’s work is an obsession with time, especially with things which are on the verge of disappearance, especially objects and structures, which in their day promised much but have since become obsolete.</p> <p>“For me, obsolescence is a state of normality. Everything that excites me no longer functions in its own time. The one thing I have noticed is that so often I am attracted to things conceived in the decade of my birth. I court anachronism – things that were once futuristic but are now out of date – and I wonder if the objects and buildings I seek were ever, in fact, content in their own time, as if obsolescence was invited at their conception” the artist states.</p> <p>Part of Dean’s work follows the peregrinations of others in which she records places and moments in time, in search of images and sounds which explore the uncertain frontiers between reality, illusion and the imagination, sometimes overlapping with her own experiences.</p> <p>Among the films included in this exhibition are Kodak (2006), Noir et Blanc (2006), Section Cinema (Homage to Marcel Broodthaers) (2002), The Green Ray (2001), and Presentation Sisters (2005), a work made in Ireland in 2005 in response to the South Presentation Convent, Cork, along with a related work from alabaster entitled Presentation Windows commissioned as part of Cork European Capital of Culture and curated by Sarah Glennie. Other works closely related to the films are a series of 25 photogravures entitled T&I (2006); Crowhurst II ,(2007), a large scale overpainted photograph; Magnetics Aviary, a collection of sound recordings on magnetic tape; other installation works and objets trouvés .</p> <p>Tacita Dean has exhibited internationally and her work had received widespread critical acclaim. She was awarded the HUGO BOSS PRIZE in 2006 and in 2005 won the Sixth Benesse Prize at the 51st International Art Exhibition, Venice Biennale.</p> <p>Dublin City Gallery The Hugh Lane hosts British artist Tacita Dean’s first solo exhibition in Ireland. Based in Berlin since 2000, Tacita Dean trained as a painter and works in a variety of media. She is best known for her compelling 16mm films, in which the specific qualities associated with film-making are of central importance. The still nature of her films invokes associations with the qualities of painting.</p> <p>Running through all Tacita Dean’s work is an obsession with time, especially with things which are on the verge of disappearance, especially objects and structures, which in their day promised much but have since become obsolete.</p> <p>“For me, obsolescence is a state of normality. Everything that excites me no longer functions in its own time. The one thing I have noticed is that so often I am attracted to things conceived in the decade of my birth. I court anachronism – things that were once futuristic but are now out of date – and I wonder if the objects and buildings I seek were ever, in fact, content in their own time, as if obsolescence was invited at their conception” the artist states.</p> <p>Part of Dean’s work follows the peregrinations of others in which she records places and moments in time, in search of images and sounds which explore the uncertain frontiers between reality, illusion and the imagination, sometimes overlapping with her own experiences.</p> <p>Among the films included in this exhibition are Kodak (2006), Noir et Blanc (2006), Section Cinema (Homage to Marcel Broodthaers) (2002), The Green Ray (2001), and Presentation Sisters (2005), a work made in Ireland in 2005 in response to the South Presentation Convent, Cork, along with a related work from alabaster entitled Presentation Windows commissioned as part of Cork European Capital of Culture and curated by Sarah Glennie. Other works closely related to the films are a series of 25 photogravures entitled T&I (2006); Crowhurst II ,(2007), a large scale overpainted photograph; Magnetics Aviary, a collection of sound recordings on magnetic tape; other installation works and objets trouvés .</p> <p>Tacita Dean has exhibited internationally and her work had received widespread critical acclaim. She was awarded the HUGO BOSS PRIZE in 2006 and in 2005 won the Sixth Benesse Prize at the 51st International Art Exhibition, Venice Biennale.</p> Adam Chodzko: M-PATH 2007-11-16T18:26:00+00:00 2007-11-16T18:26:00+00:00 http://www.hughlane.ie/past/138-adam-chodzko-m-path Michael Dempsey mdempsey.hughlane@dublincity.ie <p>We leave our shoes at the entrance to a mosque, temple, Japanese restaurant, and certain friends’ houses with ‘special’ floors. We exchange our shoes for more appropriate footwear in bowling alleys and ice-skating rinks. From 16 November 2007 to 13 January 2008 all visitors to Dublin City Gallery The Hugh Lane are invited to swap their shoes for a second-hand pair for the duration of their visit; a form of parade costume for their procession through the gallery. And yet it’s an imperceptible transformation (how will anyone know whether you are wearing your own footwear or the 'official' second-hand ones?). The shoes (donated through door to door collections as a result of distributing flyers in two specific communities in the city suburbs) directly influence the visitors’ walk through the galleries. M-path is remade each time it is exhibited. When the exhibition ends the donated shoes go to Oxfam Ireland.</p> <p>M-Path is one of a series of works collectively entitled Then, commissioned by Breaking Ground, Ballymun Per Cent for Art Scheme and curated by Aisling Prior:<br />Then by Adam Chodzko 16 November 2007 to 13 January 2008<br />M-path, Dublin City Gallery The Hugh Lane, Dublin 1<br />Garden, Balbutcher Lane, Ballymun, Dublin 9<br />Around, Na Píobairí Uilleann, 15 Henrietta St, Dublin 1<br />For further information please see <a href="http://www.breakingground.ie/" target="_blank">www.breakingground.ie</a></p> <p>Adam Chodzko was born in 1965 and lives and works in Whitstable, Kent, UK. Since 1991 Chodzko has exhibited extensively in international solo and group exhibitions: Venice Biennale; Royal Academy, London; Deste Foundation, Athens; PS1, NY; Ikon Gallery, Birmingham, Kunstmuseum Luzern etc. Recent projects include commissions by The Contemporary Art Society, Frieze Art Fair and Hayward Gallery. Forthcoming works include new commissions for Museum d’arte Moderna, Bologna and the first Folkestone Sculpture Triennale, 2008. In 2002 he received awards from the Hamlyn Foundation and the Foundation for Contemporary Art, New York. His work is in the collections of the Tate, The British Council, The Arts Council, and international museums and private collections.</p> <p>We leave our shoes at the entrance to a mosque, temple, Japanese restaurant, and certain friends’ houses with ‘special’ floors. We exchange our shoes for more appropriate footwear in bowling alleys and ice-skating rinks. From 16 November 2007 to 13 January 2008 all visitors to Dublin City Gallery The Hugh Lane are invited to swap their shoes for a second-hand pair for the duration of their visit; a form of parade costume for their procession through the gallery. And yet it’s an imperceptible transformation (how will anyone know whether you are wearing your own footwear or the 'official' second-hand ones?). The shoes (donated through door to door collections as a result of distributing flyers in two specific communities in the city suburbs) directly influence the visitors’ walk through the galleries. M-path is remade each time it is exhibited. When the exhibition ends the donated shoes go to Oxfam Ireland.</p> <p>M-Path is one of a series of works collectively entitled Then, commissioned by Breaking Ground, Ballymun Per Cent for Art Scheme and curated by Aisling Prior:<br />Then by Adam Chodzko 16 November 2007 to 13 January 2008<br />M-path, Dublin City Gallery The Hugh Lane, Dublin 1<br />Garden, Balbutcher Lane, Ballymun, Dublin 9<br />Around, Na Píobairí Uilleann, 15 Henrietta St, Dublin 1<br />For further information please see <a href="http://www.breakingground.ie/" target="_blank">www.breakingground.ie</a></p> <p>Adam Chodzko was born in 1965 and lives and works in Whitstable, Kent, UK. Since 1991 Chodzko has exhibited extensively in international solo and group exhibitions: Venice Biennale; Royal Academy, London; Deste Foundation, Athens; PS1, NY; Ikon Gallery, Birmingham, Kunstmuseum Luzern etc. Recent projects include commissions by The Contemporary Art Society, Frieze Art Fair and Hayward Gallery. Forthcoming works include new commissions for Museum d’arte Moderna, Bologna and the first Folkestone Sculpture Triennale, 2008. In 2002 he received awards from the Hamlyn Foundation and the Foundation for Contemporary Art, New York. His work is in the collections of the Tate, The British Council, The Arts Council, and international museums and private collections.</p> Ellen Gallagher: Coral Cities 2007-09-28T18:26:00+00:00 2007-09-28T18:26:00+00:00 http://www.hughlane.ie/past/137-ellen-gallagher Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Dublin City Gallery The Hugh Lane, in association with Tate Liverpool, is delighted to host the first solo exhibition in Ireland by celebrated American artist Ellen Gallagher opening to the public on the 28th September 2007 and running until the 13th January 2008. Gallagher (b.1965) is best known as a leading contemporary painter, although she has also creates drawings, prints, sculpture and, in collaboration with Edgar Clijne, a number of 16mm films. Renowned for her reworking of popular black imagery, Gallagher draws on postwar magazines, dominated by advertisements for afro hairstyles, wigs and skin products aimed at African-American women, as well as film, science and music, to explore issues of identity, mutability and transformation. From such diverse sources and subjects, Gallagher creates works that are both visually stunning and imbued with conceptual richness.</p> <p>Coral Cities features new and recent works and focuses on her ongoing series collectively entitled Watery Ecstatic, which explores the myth of Drexciya, a myth propagated by an underground Detroit techno outfit of the same name in the 1990s. An Atlantis-like underwater world, Drexciya is populated by a marine species descended from women and children who jumped overboard or were thrown from slave ships during the gruelling journey from West Africa to America. In this series of work their embryonic status is transformed into elaborate mythical figures, half human, half fish, and highly developed underwater species. Carving directly onto paper, elaborating with precise detail, and culling images from the 1930s through to the 1970s from publications such as Ebony and Sepia, Gallagher remixes representations of identity. The exhibition includes the epic painting Bird in Hand, representing a black sailor or pirate from Cape Verde, part tree, part root, whose head spawns a multitude of heads and text. As in other works historically specific cultural references are merged with Gallagher’s own personal biography as a black Irish-American woman. Gallagher revises and revisions the historic and fantastical to create a body of work that layers imageries and creates new cultural mythologies.</p> <p>Ellen Gallagher was born in Providence, Rhode Island, in 1965, and lives and works in New York and Rotterdam, Holland. Her work first gained international attention at the Whitney Biennial in 1995. She has exhibited widely with recent solo exhibitions at the Freud Museum, London (2005), MoCA Museum of Contemporary Art, Miami (2005), the Whitney Museum of American Art, New York (2005) and was selected for the Italian Pavilion for the 50th Venice Biennale in 2003.</p> <p>This exhibition is organised in collaboration with Tate Liverpool and is financially supported by the Mondriaan Foundation. A full colour publication, published by Dublin City Gallery The Hugh Lane and Tate Liverpool, is available.</p> <p>Dublin City Gallery The Hugh Lane, in association with Tate Liverpool, is delighted to host the first solo exhibition in Ireland by celebrated American artist Ellen Gallagher opening to the public on the 28th September 2007 and running until the 13th January 2008. Gallagher (b.1965) is best known as a leading contemporary painter, although she has also creates drawings, prints, sculpture and, in collaboration with Edgar Clijne, a number of 16mm films. Renowned for her reworking of popular black imagery, Gallagher draws on postwar magazines, dominated by advertisements for afro hairstyles, wigs and skin products aimed at African-American women, as well as film, science and music, to explore issues of identity, mutability and transformation. From such diverse sources and subjects, Gallagher creates works that are both visually stunning and imbued with conceptual richness.</p> <p>Coral Cities features new and recent works and focuses on her ongoing series collectively entitled Watery Ecstatic, which explores the myth of Drexciya, a myth propagated by an underground Detroit techno outfit of the same name in the 1990s. An Atlantis-like underwater world, Drexciya is populated by a marine species descended from women and children who jumped overboard or were thrown from slave ships during the gruelling journey from West Africa to America. In this series of work their embryonic status is transformed into elaborate mythical figures, half human, half fish, and highly developed underwater species. Carving directly onto paper, elaborating with precise detail, and culling images from the 1930s through to the 1970s from publications such as Ebony and Sepia, Gallagher remixes representations of identity. The exhibition includes the epic painting Bird in Hand, representing a black sailor or pirate from Cape Verde, part tree, part root, whose head spawns a multitude of heads and text. As in other works historically specific cultural references are merged with Gallagher’s own personal biography as a black Irish-American woman. Gallagher revises and revisions the historic and fantastical to create a body of work that layers imageries and creates new cultural mythologies.</p> <p>Ellen Gallagher was born in Providence, Rhode Island, in 1965, and lives and works in New York and Rotterdam, Holland. Her work first gained international attention at the Whitney Biennial in 1995. She has exhibited widely with recent solo exhibitions at the Freud Museum, London (2005), MoCA Museum of Contemporary Art, Miami (2005), the Whitney Museum of American Art, New York (2005) and was selected for the Italian Pavilion for the 50th Venice Biennale in 2003.</p> <p>This exhibition is organised in collaboration with Tate Liverpool and is financially supported by the Mondriaan Foundation. A full colour publication, published by Dublin City Gallery The Hugh Lane and Tate Liverpool, is available.</p> of de Blacam and Meagher 2011-03-04T00:00:00+00:00 2011-03-04T00:00:00+00:00 http://www.hughlane.ie/past/298-of-de-blacam-and-meagher Michael Dempsey mdempsey.hughlane@dublincity.ie <p>The exhibition <em>of de Blacam and Meagher</em> was Ireland’s participation at the 12th International Architecture Exhibition La Biennale di Venezia. The installation of five stacks of papers presented in the Sculpture Hall is both an archive and a reading room. The public are invited to read the work and take it away as a folio. Over time the stacks are depleted by the actions of the public, until finally we are left only with the furnishings.<br /><br />In addition, there is a screening of a film about the exhibition, called <em>dBMgalloWORDS</em>, by Ruán Magan. Using stunning visuals and sound, the film moves poetically through the processes involved in creating a national pavilion, from the arrival of the archive by boat, to the installation and interaction of the curators, and the final interplay between the visitors and paper scrolls. This new commission is an Irish Architecture Foundation and Ruán Magan production and will be screened at each venue on the of de Blacam and Meagher tour in 2011.</p> <p>The Irish participation at La Biennale di Venezia is an initiative of <a href="http://www.cultureireland.gov.ie/" target="_blank">Culture Ireland</a> in partnership with the Arts Council. The exhibition was curated by Tom dePaor, Peter Maybury, Alice Casey and Cian Deegan, and commissioned by the <a href="http://www.architecturefoundation.ie/" target="_blank">Irish Architecture Foundation</a>, under the directorship of Nathalie Weadick. The exhibition is also supported by RIAI and the Department of Environment Heritage and Local Government.</p> <p>The exhibition <em>of de Blacam and Meagher</em> was Ireland’s participation at the 12th International Architecture Exhibition La Biennale di Venezia. The installation of five stacks of papers presented in the Sculpture Hall is both an archive and a reading room. The public are invited to read the work and take it away as a folio. Over time the stacks are depleted by the actions of the public, until finally we are left only with the furnishings.<br /><br />In addition, there is a screening of a film about the exhibition, called <em>dBMgalloWORDS</em>, by Ruán Magan. Using stunning visuals and sound, the film moves poetically through the processes involved in creating a national pavilion, from the arrival of the archive by boat, to the installation and interaction of the curators, and the final interplay between the visitors and paper scrolls. This new commission is an Irish Architecture Foundation and Ruán Magan production and will be screened at each venue on the of de Blacam and Meagher tour in 2011.</p> <p>The Irish participation at La Biennale di Venezia is an initiative of <a href="http://www.cultureireland.gov.ie/" target="_blank">Culture Ireland</a> in partnership with the Arts Council. The exhibition was curated by Tom dePaor, Peter Maybury, Alice Casey and Cian Deegan, and commissioned by the <a href="http://www.architecturefoundation.ie/" target="_blank">Irish Architecture Foundation</a>, under the directorship of Nathalie Weadick. The exhibition is also supported by RIAI and the Department of Environment Heritage and Local Government.</p> The Golden Bough: William McKeown 2011-02-03T18:56:51+00:00 2011-02-03T18:56:51+00:00 http://www.hughlane.ie/past/129-the-golden-bough-william-mckeown Michael Dempsey mdempsey.hughlane@dublincity.ie <p>I have often worked with rooms. 'The Waiting Room' is a new manifestation of 'Room for Waiting In', an installation made for the group show 'Rooms for Waiting In', with artists Garrett Phelan, Corban Walker and Grace Weir, curated by Michael Dempsey at Galway Arts Centre in the summer of 2005.</p> <p>The installation at Galway consisted of a dimmed naked light bulb softly illuminating the beautiful first floor drawing room of Lady Gregory's townhouse in Dominick Street. The shutters were closed over the two tall windows preventing the natural light from flooding the exquisite Georgian interior. Inside was structure, privilege, a single light bulb, hope. Outside was the sun.</p> <p>At The Hugh Lane 'The Waiting Room' is part of the gallery's 'Golden Bough' programme, a series of exhibitions, also curated by Michael Dempsey, centred on James George Frazer's influential masterwork of anthropology 'The Golden Bough' first published in 1890. 'The Waiting Room' is a response to Frazer's Chapter 1 in Book IV entitled 'Between Heaven and Earth '. In this chapter the reader encounters stories of sacred, noble or taboo persons who are forbidden to walk on or to touch the ground, to see the sun, or to have its light fall upon them. Priests, kings, bridegrooms, women after giving birth, chosen persons who, because of religion, folklore, myth or superstition were forced to exist for periods of time in the buoyant liminal space between earth and heaven or in the dark. These are the spaces that have fascinated me since I was a boy and the work that I have tried to make for many years has been inspired by the sky above us, the ocean of air that we are immersed in and our daily emergence into light.</p> <p>One story at the end of 'Between Heaven and Earth' particularly resonates, that of 'Prince Sunless', and is so compelling that it deserves to be quoted at length:<br />'Arcananian peasants[1] tell of a handsome prince called Sunless, who would die if he saw the sun. So he lived in an underground palace on the site of the ancient Oeniadae, but at night he came forth and crossed the river to visit a famous enchantress who dwelt in a castle on the further bank. She was loth to part with him every night long before the sun was up, and as he turned a deaf ear to all her entreaties to linger, she hit upon the device of cutting the throats of all the cocks in the neighbourhood. So the prince, whose ear had learned to expect the shrill clarion of the birds as the signal of the growing light, tarried too long, and hardly had he reached the ford when the sun rose over the Aetolian mountains, and its fatal beams fell on him before he could regain his dark abode.'</p> <p>The beautiful oval room at The Hugh Lane, which currently acts as the 'Golden Bough' project room, is a Willie McKeown readymade. The room is not exactly a fake but things are not as they appear initially to the eye. Not Georgian, this gallery was part of the designs for the new galleries commissioned in 1929. It was designed to mirror the size and shape of the apsidal-ended plan of the Rockingham Library designed by James Gandon a century and a half before in 1788 and now lost. Gallery 6 on the opposite side of the sculpture hall, the twin of the 'Golden Bough' room, is built on the foundations of the Rockingham Library and is a palimpsest of its D-ended plan. The Rockingham Library was built as an annexe to the original structures and was accessed through an opening made in the 150 foot long breathtaking 'The Great Corridor' that then ran from the main house to Lord Charlemont's celebrated pavilion of libraries at the end of the garden. Along this long enclosed corridor windows opened views onto the garden while inside the corridor niches opposite the windows held statues. A linear travelling contemplation of culture and nature.</p> <p>In 'The Waiting Room' I wanted to turn the focus of the space onto the apparently emerging light, the dawn, the vertical path leading out of the seductive trap of the room, the cockcrow warning of the unfurling of a space in the heart, a place of freedom and happiness, a place to breathe in the sky and to dance. Because dancing like breathing and singing live in that cleansing levitating space that exists between earth and heaven. The Waiting Room' is an antechamber to the dancehall. 'Here comes the Sun'[2]'<br /><strong>William McKeown</strong></p> <p>[1] ancient inhabitants of the area of western central Greece due south of the Gulf of Amvrakia.</p> <p>[2] written in 1969 by George Harrison - " 'Here comes the Sun' was written at a time when Apple (Records) was getting like school, where we had to go to be businessmen: 'sign this' and 'sign that'. Anyway, it seems as if winter in England goes on forever, by the time spring comes you really deserve it. So one day I decided to sag off Apple and went over to Eric Clapton's house. The relief of not having to go see all those dopey accountants was wonderful and I walked around the garden with one of Eric's acoustic guitars and wrote 'Here comes the Sun' ".<br />Astronomer Carl Sagan had wanted 'Here comes the Sun' to be included on the 'Voyager Golden Record' attached to both Voyager* 1 and Voyager 2. Although the Beatles were all for the idea EMI refused to release the rights and neither space probes, launched in 1977 have a recording of the song on board.</p> <p>*'The Untold Want' by Walt Whitman - 'The untold want by life and land ne'er granted, now voyager sail thou forth to seek and find'.<br /><br />The Golden Bough ~ Curated by Michael Dempsey</p> <p>I have often worked with rooms. 'The Waiting Room' is a new manifestation of 'Room for Waiting In', an installation made for the group show 'Rooms for Waiting In', with artists Garrett Phelan, Corban Walker and Grace Weir, curated by Michael Dempsey at Galway Arts Centre in the summer of 2005.</p> <p>The installation at Galway consisted of a dimmed naked light bulb softly illuminating the beautiful first floor drawing room of Lady Gregory's townhouse in Dominick Street. The shutters were closed over the two tall windows preventing the natural light from flooding the exquisite Georgian interior. Inside was structure, privilege, a single light bulb, hope. Outside was the sun.</p> <p>At The Hugh Lane 'The Waiting Room' is part of the gallery's 'Golden Bough' programme, a series of exhibitions, also curated by Michael Dempsey, centred on James George Frazer's influential masterwork of anthropology 'The Golden Bough' first published in 1890. 'The Waiting Room' is a response to Frazer's Chapter 1 in Book IV entitled 'Between Heaven and Earth '. In this chapter the reader encounters stories of sacred, noble or taboo persons who are forbidden to walk on or to touch the ground, to see the sun, or to have its light fall upon them. Priests, kings, bridegrooms, women after giving birth, chosen persons who, because of religion, folklore, myth or superstition were forced to exist for periods of time in the buoyant liminal space between earth and heaven or in the dark. These are the spaces that have fascinated me since I was a boy and the work that I have tried to make for many years has been inspired by the sky above us, the ocean of air that we are immersed in and our daily emergence into light.</p> <p>One story at the end of 'Between Heaven and Earth' particularly resonates, that of 'Prince Sunless', and is so compelling that it deserves to be quoted at length:<br />'Arcananian peasants[1] tell of a handsome prince called Sunless, who would die if he saw the sun. So he lived in an underground palace on the site of the ancient Oeniadae, but at night he came forth and crossed the river to visit a famous enchantress who dwelt in a castle on the further bank. She was loth to part with him every night long before the sun was up, and as he turned a deaf ear to all her entreaties to linger, she hit upon the device of cutting the throats of all the cocks in the neighbourhood. So the prince, whose ear had learned to expect the shrill clarion of the birds as the signal of the growing light, tarried too long, and hardly had he reached the ford when the sun rose over the Aetolian mountains, and its fatal beams fell on him before he could regain his dark abode.'</p> <p>The beautiful oval room at The Hugh Lane, which currently acts as the 'Golden Bough' project room, is a Willie McKeown readymade. The room is not exactly a fake but things are not as they appear initially to the eye. Not Georgian, this gallery was part of the designs for the new galleries commissioned in 1929. It was designed to mirror the size and shape of the apsidal-ended plan of the Rockingham Library designed by James Gandon a century and a half before in 1788 and now lost. Gallery 6 on the opposite side of the sculpture hall, the twin of the 'Golden Bough' room, is built on the foundations of the Rockingham Library and is a palimpsest of its D-ended plan. The Rockingham Library was built as an annexe to the original structures and was accessed through an opening made in the 150 foot long breathtaking 'The Great Corridor' that then ran from the main house to Lord Charlemont's celebrated pavilion of libraries at the end of the garden. Along this long enclosed corridor windows opened views onto the garden while inside the corridor niches opposite the windows held statues. A linear travelling contemplation of culture and nature.</p> <p>In 'The Waiting Room' I wanted to turn the focus of the space onto the apparently emerging light, the dawn, the vertical path leading out of the seductive trap of the room, the cockcrow warning of the unfurling of a space in the heart, a place of freedom and happiness, a place to breathe in the sky and to dance. Because dancing like breathing and singing live in that cleansing levitating space that exists between earth and heaven. The Waiting Room' is an antechamber to the dancehall. 'Here comes the Sun'[2]'<br /><strong>William McKeown</strong></p> <p>[1] ancient inhabitants of the area of western central Greece due south of the Gulf of Amvrakia.</p> <p>[2] written in 1969 by George Harrison - " 'Here comes the Sun' was written at a time when Apple (Records) was getting like school, where we had to go to be businessmen: 'sign this' and 'sign that'. Anyway, it seems as if winter in England goes on forever, by the time spring comes you really deserve it. So one day I decided to sag off Apple and went over to Eric Clapton's house. The relief of not having to go see all those dopey accountants was wonderful and I walked around the garden with one of Eric's acoustic guitars and wrote 'Here comes the Sun' ".<br />Astronomer Carl Sagan had wanted 'Here comes the Sun' to be included on the 'Voyager Golden Record' attached to both Voyager* 1 and Voyager 2. Although the Beatles were all for the idea EMI refused to release the rights and neither space probes, launched in 1977 have a recording of the song on board.</p> <p>*'The Untold Want' by Walt Whitman - 'The untold want by life and land ne'er granted, now voyager sail thou forth to seek and find'.<br /><br />The Golden Bough ~ Curated by Michael Dempsey</p> Women of Substance 2011-05-19T00:00:00+00:00 2011-05-19T00:00:00+00:00 http://www.hughlane.ie/past/392-women-of-substance Dr. Margarita Cappock mcappock.hughlane@dublincity.ie <p>This exhibition draws on portraits of notable women found in the collection of Dublin City Gallery The Hugh Lane and features a selection of works by artists such as Philip de László, George Frederic Watts, John Singer Sargent, Giovanni Boldini, William Orpen, Antonio Mancini, James McNeill Whistler, Sarah Purser, Augustus John, Jacob Epstein, John Lavery and Maurice de Vlaminck. The sitters include numerous individuals connected with the arts, politics, industry, sports and fashionable society, with striking images of, amongst others, Lady Gregory, Maud Gonne, Lady Mary Heath, Lady Charles Beresford, Hazel Lavery, Iris Tree and Clementina Anstruther Thomson. The links between many of the artists and sitters are explored, and the works, spanning some 80 years, showcase the broad variety of art created during this time. <em>Women of Substance </em>celebrates the parts these women played in society, and challenges preconceptions of the role of women at a time of great social change when new possibilities for women became available.<br /><br />Curated by Dr Margarita Cappock, Head of Collections</p> <p>This exhibition draws on portraits of notable women found in the collection of Dublin City Gallery The Hugh Lane and features a selection of works by artists such as Philip de László, George Frederic Watts, John Singer Sargent, Giovanni Boldini, William Orpen, Antonio Mancini, James McNeill Whistler, Sarah Purser, Augustus John, Jacob Epstein, John Lavery and Maurice de Vlaminck. The sitters include numerous individuals connected with the arts, politics, industry, sports and fashionable society, with striking images of, amongst others, Lady Gregory, Maud Gonne, Lady Mary Heath, Lady Charles Beresford, Hazel Lavery, Iris Tree and Clementina Anstruther Thomson. The links between many of the artists and sitters are explored, and the works, spanning some 80 years, showcase the broad variety of art created during this time. <em>Women of Substance </em>celebrates the parts these women played in society, and challenges preconceptions of the role of women at a time of great social change when new possibilities for women became available.<br /><br />Curated by Dr Margarita Cappock, Head of Collections</p> Hugh Lane and his Artists 2011-05-19T00:00:00+00:00 2011-05-19T00:00:00+00:00 http://www.hughlane.ie/past/390-hugh-lane-and-his-artists Logan Sisley logan.sisley@dublincity.ie <p>Since 1901, Hugh Lane had been championing the establishment of Gallery of Modern Art for Ireland. Encouraged by the members of the Celtic Revival movement, including his aunt Augusta, Lady Gregory, and William Butler Yeats, Hugh Lane set about amassing a collection of modern and contemporary art. <em>Hugh Lane and His Artists </em>presents selected treasures from the Gallery's founding days. It includes paintings by Corot, Constable, Fantin-Latour and Degas previously in the Staats Forbes collection along with works by Monet, Nathaniel Hone and John B. Yeats.<br />Curated by Dr Barbara Dawson, Director, and Logan Sisley, Exhibitions Curator.</p> <p>Since 1901, Hugh Lane had been championing the establishment of Gallery of Modern Art for Ireland. Encouraged by the members of the Celtic Revival movement, including his aunt Augusta, Lady Gregory, and William Butler Yeats, Hugh Lane set about amassing a collection of modern and contemporary art. <em>Hugh Lane and His Artists </em>presents selected treasures from the Gallery's founding days. It includes paintings by Corot, Constable, Fantin-Latour and Degas previously in the Staats Forbes collection along with works by Monet, Nathaniel Hone and John B. Yeats.<br />Curated by Dr Barbara Dawson, Director, and Logan Sisley, Exhibitions Curator.</p> Unique Act 2008-03-11T12:54:00+00:00 2008-03-11T12:54:00+00:00 http://www.hughlane.ie/past/140-unique-act Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root</p> <p>As part of its centenary celebrations, Dublin City Gallery The Hugh Lane is delighted to present Unique Act, an exhibition of non-figurative painting with works by Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root. The exhibition is a current evaluation of contemporary non-figurative painting, as presented by these artists who, through a common medium, address different concerns in their highly individualised practices. <br />The Hugh Lane began as a picture gallery celebrating painting’s central position in visual art. Since then there have been many evolutions in the practice of painting. No matter how often its demise has been heralded, the practice has continued to evolve and for many artists it is central to expressing their concerns. <br />At a time when almost everything around us is mass-produced in factories, non-figurative paintings hold a very special position. Non-figurative art employs a language; like music, it is a dialogue involving the creator and audience. Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root explore contemporary concerns through this language, demonstrating its breathtaking diversity. The five artists allow the viewer to evaluate how painting today is part of the world. The ensuing dialogue is rich, multilayered and complex. These works celebrate the limitless language of colour and form.<br />Unique Act celebrates the Gallery’s first centenary and has evolved out of Sean Scully’s generous gift of paintings to the collection in 2006.<br />An illustrated catalogue accompanies the exhibition with a leading essay by the eminent art critic, writer and historian, David Carrier. The catalogue also includes texts by Giovanni Accame, Sue Hubbard, Gavin Morrison, Jasper Sharp and Lilly Wei.</p> <p>Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root</p> <p>As part of its centenary celebrations, Dublin City Gallery The Hugh Lane is delighted to present Unique Act, an exhibition of non-figurative painting with works by Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root. The exhibition is a current evaluation of contemporary non-figurative painting, as presented by these artists who, through a common medium, address different concerns in their highly individualised practices. <br />The Hugh Lane began as a picture gallery celebrating painting’s central position in visual art. Since then there have been many evolutions in the practice of painting. No matter how often its demise has been heralded, the practice has continued to evolve and for many artists it is central to expressing their concerns. <br />At a time when almost everything around us is mass-produced in factories, non-figurative paintings hold a very special position. Non-figurative art employs a language; like music, it is a dialogue involving the creator and audience. Frederic Matys Thursz, Sean Scully, Carmengloria Morales, Seán Shanahan and Ruth Root explore contemporary concerns through this language, demonstrating its breathtaking diversity. The five artists allow the viewer to evaluate how painting today is part of the world. The ensuing dialogue is rich, multilayered and complex. These works celebrate the limitless language of colour and form.<br />Unique Act celebrates the Gallery’s first centenary and has evolved out of Sean Scully’s generous gift of paintings to the collection in 2006.<br />An illustrated catalogue accompanies the exhibition with a leading essay by the eminent art critic, writer and historian, David Carrier. The catalogue also includes texts by Giovanni Accame, Sue Hubbard, Gavin Morrison, Jasper Sharp and Lilly Wei.</p> Julian Opie: Walking on O'Connell Street 2008-01-20T12:54:00+00:00 2008-01-20T12:54:00+00:00 http://www.hughlane.ie/past/141-julian-opie-walking-on-oconnell-street Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Dublin City Gallery The Hugh Lane is delighted to present the first large-scale public exhibition of works by internationally renowned artist Julian Opie in Dublin. The exhibition entitled Julian Opie: Walking on O’Connell Street, curated by Barbara Dawson, comprises five animated LED installations on the central median of O’Connell Street and on the forecourt of the Gallery on Parnell Square.</p> <p>The animations connect Dublin City Gallery The Hugh Lane, with its renowned collection of figurative art, to Dublin’s main street. Four of Opie’s animated figures - Sara, Julian, Jack and Suzanne – are displayed walking on O’Connell Street in the direction of Parnell Square where Sara dances outside the Gallery. While moving signs and images are familiar in city sights these works, inspired by popular culture, go beyond the obvious with a compelling contemporary aesthetic.</p> <p>O’Connell Street is now another public platform for contemporary practice curated by Dublin City Gallery the Hugh Lane. Julian Opie: Walking on O’Connell Street follows on from the highly successful Barry Flanagan exhibition of giant bronze hares, which leapt up and down O’Connell Street in the summer of 2006. The Julian Opie installation will remain on display for the duration of the Gallery’s centenary celebrations.</p> <p>Julian Opie is widely recognised as one of the pre-eminent artists working with public sculpture today. His images are elemental in appearance though amongst the most complex and sophisticated in contemporary art practice. His highly stylised work involves the reduction of photographs or short films into figurative reproductions. His unique portraiture is characterised by black outlines with flat areas of colour and details are reduced to his linear elemental style that captures the subject’s entire personality.</p> <p><a href="https://youtu.be/Lk2u6xilJNQ" target="_blank" title="YouTube">Watch a video of the exhibition on O'Connell Street on our YouTube channel.</a></p> <p>Dublin City Gallery The Hugh Lane is delighted to present the first large-scale public exhibition of works by internationally renowned artist Julian Opie in Dublin. The exhibition entitled Julian Opie: Walking on O’Connell Street, curated by Barbara Dawson, comprises five animated LED installations on the central median of O’Connell Street and on the forecourt of the Gallery on Parnell Square.</p> <p>The animations connect Dublin City Gallery The Hugh Lane, with its renowned collection of figurative art, to Dublin’s main street. Four of Opie’s animated figures - Sara, Julian, Jack and Suzanne – are displayed walking on O’Connell Street in the direction of Parnell Square where Sara dances outside the Gallery. While moving signs and images are familiar in city sights these works, inspired by popular culture, go beyond the obvious with a compelling contemporary aesthetic.</p> <p>O’Connell Street is now another public platform for contemporary practice curated by Dublin City Gallery the Hugh Lane. Julian Opie: Walking on O’Connell Street follows on from the highly successful Barry Flanagan exhibition of giant bronze hares, which leapt up and down O’Connell Street in the summer of 2006. The Julian Opie installation will remain on display for the duration of the Gallery’s centenary celebrations.</p> <p>Julian Opie is widely recognised as one of the pre-eminent artists working with public sculpture today. His images are elemental in appearance though amongst the most complex and sophisticated in contemporary art practice. His highly stylised work involves the reduction of photographs or short films into figurative reproductions. His unique portraiture is characterised by black outlines with flat areas of colour and details are reduced to his linear elemental style that captures the subject’s entire personality.</p> <p><a href="https://youtu.be/Lk2u6xilJNQ" target="_blank" title="YouTube">Watch a video of the exhibition on O'Connell Street on our YouTube channel.</a></p> The Golden Bough: Dorothy Cross: LAND SCAPE 2008-03-05T12:54:00+00:00 2008-03-05T12:54:00+00:00 http://www.hughlane.ie/past/142-the-golden-bough-dorothy-cross-land-scape Michael Dempsey mdempsey.hughlane@dublincity.ie <p>The Golden Bough suite, in Gallery Eight of Dublin City Gallery The Hugh Lane, began with a selection of work by artist Dorothy Cross. Entitled ‘LAND SCAPE’ it included the works ‘Midges’, ‘Iris’, ‘Thrush drawing’, ‘Finches’, ‘Endarken’, and ‘Foxglove’. This ensemble refers to land, to growth and decay and to the human in nature: ‘seasonal’ time and ‘life’ time.</p> <p>A lying woman appears and disappears in a projected work entitled ‘Midges’. She seems dead or unconscious, her sudden resurrection and return to the state where she first appears is perhaps caused by the almost invisible presence of the biting insects. Placed at the opposite end of the gallery is a monitor showing ‘Endarken’. A tiny black spot appears in the centre of a romantic image of an Irish cottage and grows rapidly like the pupil of an eye.</p> <p>Playing with the presumption of a flower to be symbolically female, ‘Iris’ is an older work of Cross’ taken from the Hugh Lane permanent collection and reworked to appropriate the installation of ‘LAND SCAPE’. The small root formation of the Rhizome is slightly exaggerated appearing phallic and cast in silver.</p> <p>Three cast bronze ‘Finches’ lie as if in a natural history display. Part of them is made up of the cast from female genitalia isolated and attached to the delicate birds. ‘Thrush drawing’ made by a thrush that flew into a window and died is mounted on the adjacent wall.</p> <p>A ‘foxglove’ flower cast in bronze with a set of human fingers that form five of the bells is seen in a display case. Cross tells the story of when she was a child “we were told never to place our fingers in a foxglove and then lick them or we would go blind.” A drug called digitalis is extracted from the foxglove and used as heart drug. If one ingests too much digitalis it can make one see only in blue and white.</p> <p>Curated by Michael Dempsey. Assisted by Jessica O’Donnell.</p> <p>The Golden Bough suite, in Gallery Eight of Dublin City Gallery The Hugh Lane, began with a selection of work by artist Dorothy Cross. Entitled ‘LAND SCAPE’ it included the works ‘Midges’, ‘Iris’, ‘Thrush drawing’, ‘Finches’, ‘Endarken’, and ‘Foxglove’. This ensemble refers to land, to growth and decay and to the human in nature: ‘seasonal’ time and ‘life’ time.</p> <p>A lying woman appears and disappears in a projected work entitled ‘Midges’. She seems dead or unconscious, her sudden resurrection and return to the state where she first appears is perhaps caused by the almost invisible presence of the biting insects. Placed at the opposite end of the gallery is a monitor showing ‘Endarken’. A tiny black spot appears in the centre of a romantic image of an Irish cottage and grows rapidly like the pupil of an eye.</p> <p>Playing with the presumption of a flower to be symbolically female, ‘Iris’ is an older work of Cross’ taken from the Hugh Lane permanent collection and reworked to appropriate the installation of ‘LAND SCAPE’. The small root formation of the Rhizome is slightly exaggerated appearing phallic and cast in silver.</p> <p>Three cast bronze ‘Finches’ lie as if in a natural history display. Part of them is made up of the cast from female genitalia isolated and attached to the delicate birds. ‘Thrush drawing’ made by a thrush that flew into a window and died is mounted on the adjacent wall.</p> <p>A ‘foxglove’ flower cast in bronze with a set of human fingers that form five of the bells is seen in a display case. Cross tells the story of when she was a child “we were told never to place our fingers in a foxglove and then lick them or we would go blind.” A drug called digitalis is extracted from the foxglove and used as heart drug. If one ingests too much digitalis it can make one see only in blue and white.</p> <p>Curated by Michael Dempsey. Assisted by Jessica O’Donnell.</p> Mark Francis: Pulse 2008-01-20T12:54:00+00:00 2008-01-20T12:54:00+00:00 http://www.hughlane.ie/past/143-mark-francis-pulse Michael Dempsey mdempsey.hughlane@dublincity.ie <div>Borrowing from scientific imagery and maps of both the natural and manmade world, Mark Francis’ recent work renews one’s interest in abstraction. The exhibition centres around three large diptychs, titled Timbre I, II, and III, in which Francis responds directly to sound and vibration. The paintings of Mark Francis present us with rhythmic compositions that seem part-electronic, part-organic. Cadences made material with forms strung on supports throbbing across the picture plane. The content is neither figurative nor abstract. What are they? Pictures of things from so close up, that they seem to pixelate.</div> <div>Artist's Talk: Mark Francis Elements 5pm Thursday 7th February 2008</div> <div>Mark Francis will discuss his use of collections, source materials and other inspirartions present in his work. This talk will take place within the context of his current exhibition and recent monograph published by Dublin City Gallery The Hugh Lane in association with Lund Humphries.</div> <div>Coffee Lecture: Mark Francis, Pulse</div> <div>Lecturer Michael Dempsey</div> <div>11am Wednesday 20th February 2008</div> <div>The limited edition Mark Francis monograph will be available from Noble & Beggarman Books at Dublin City Gallery The Hugh Lane</div> <div>Borrowing from scientific imagery and maps of both the natural and manmade world, Mark Francis’ recent work renews one’s interest in abstraction. The exhibition centres around three large diptychs, titled Timbre I, II, and III, in which Francis responds directly to sound and vibration. The paintings of Mark Francis present us with rhythmic compositions that seem part-electronic, part-organic. Cadences made material with forms strung on supports throbbing across the picture plane. The content is neither figurative nor abstract. What are they? Pictures of things from so close up, that they seem to pixelate.</div> <div>Artist's Talk: Mark Francis Elements 5pm Thursday 7th February 2008</div> <div>Mark Francis will discuss his use of collections, source materials and other inspirartions present in his work. This talk will take place within the context of his current exhibition and recent monograph published by Dublin City Gallery The Hugh Lane in association with Lund Humphries.</div> <div>Coffee Lecture: Mark Francis, Pulse</div> <div>Lecturer Michael Dempsey</div> <div>11am Wednesday 20th February 2008</div> <div>The limited edition Mark Francis monograph will be available from Noble & Beggarman Books at Dublin City Gallery The Hugh Lane</div> Fergus Martin 2008-10-11T12:54:00+00:00 2008-10-11T12:54:00+00:00 http://www.hughlane.ie/past/144-fergus-martin Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Fergus Martin’s exhibition at Dublin City Gallery The Hugh Lane draws from a new body of work in the medium of sculpture and painting united by a sense of drama and raucous reflection, the placement of which leaves the viewer in an unsettled state of calm.</p> <p>He has called his paintings ‘the carriers’ of colour but the colour is not restricted only to its structured composition. Mediated by the viewer's gaze, it belongs to the entirety of the world as the eye sees it, and renders it accessible.</p> <p>Born in Cork in 1955, Fergus Martin works in a variety of media from two-dimensional work such as painting and photography to sculptural works, defining and questioning the relationship between central and peripheral, form and energy. Martin has exhibited widely; recent exhibitions include 'Yo, Mo’ Modernism... 1' at CCNOA, Brussels, and 'Steel' at The Irish Museum of Modern Art. The artist is represented by Green on Red Gallery.</p> <p> </p> <p>Fergus Martin’s exhibition at Dublin City Gallery The Hugh Lane draws from a new body of work in the medium of sculpture and painting united by a sense of drama and raucous reflection, the placement of which leaves the viewer in an unsettled state of calm.</p> <p>He has called his paintings ‘the carriers’ of colour but the colour is not restricted only to its structured composition. Mediated by the viewer's gaze, it belongs to the entirety of the world as the eye sees it, and renders it accessible.</p> <p>Born in Cork in 1955, Fergus Martin works in a variety of media from two-dimensional work such as painting and photography to sculptural works, defining and questioning the relationship between central and peripheral, form and energy. Martin has exhibited widely; recent exhibitions include 'Yo, Mo’ Modernism... 1' at CCNOA, Brussels, and 'Steel' at The Irish Museum of Modern Art. The artist is represented by Green on Red Gallery.</p> <p> </p> Now's The Time 2008-11-06T12:54:00+00:00 2008-11-06T12:54:00+00:00 http://www.hughlane.ie/past/145-nows-the-time Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Now’s The Time concentrates on a number of artists whose lives were cut short prematurely but whose work continues to exert influence upon artistic practice today. Artists featured include Piero Manzoni, Eva Hesse, Bas Jan Ader, Gordon Matta-Clark, Jean-Michel Basquiat, Keith Haring, Felix Gonzalez-Torres, Helen Chadwick, Michel Majerus, Martin Kippenberger and Jason Rhoades.</p> <p>This exhibition at Dublin City Gallery The Hugh Lane provides the first opportunity to view work by many of these artists in Ireland. The Gallery’s founder, Hugh Lane, died at the age of 39 but his extraordinary legacy continues to enrich the cultural life of Dublin. In the Gallery’s centenary year Now’s The Time provides an opportunity to assess the achievements of a diverse range of artists who created enduring work that continues to inspire and provoke audiences around the world.</p> <p>A film programme in February 2009 will include works by Gordon Matta-Clark and Robert Smithson.</p> <p>An illustrated catalogue with texts by Barbara Dawson, Lilly Wei and Padraic E. Moore is now available.</p> <p>Image: Bas Jan Ader, Primary Time (detail), 1974, U-matic tape transferred onto DVD, Courtesy of the Bas Jan Ader Estate & Patrick Painter Editions.</p> <p>Now’s The Time concentrates on a number of artists whose lives were cut short prematurely but whose work continues to exert influence upon artistic practice today. Artists featured include Piero Manzoni, Eva Hesse, Bas Jan Ader, Gordon Matta-Clark, Jean-Michel Basquiat, Keith Haring, Felix Gonzalez-Torres, Helen Chadwick, Michel Majerus, Martin Kippenberger and Jason Rhoades.</p> <p>This exhibition at Dublin City Gallery The Hugh Lane provides the first opportunity to view work by many of these artists in Ireland. The Gallery’s founder, Hugh Lane, died at the age of 39 but his extraordinary legacy continues to enrich the cultural life of Dublin. In the Gallery’s centenary year Now’s The Time provides an opportunity to assess the achievements of a diverse range of artists who created enduring work that continues to inspire and provoke audiences around the world.</p> <p>A film programme in February 2009 will include works by Gordon Matta-Clark and Robert Smithson.</p> <p>An illustrated catalogue with texts by Barbara Dawson, Lilly Wei and Padraic E. Moore is now available.</p> <p>Image: Bas Jan Ader, Primary Time (detail), 1974, U-matic tape transferred onto DVD, Courtesy of the Bas Jan Ader Estate & Patrick Painter Editions.</p> The Golden Bough: Garrett Phelan: Radio Tombs and Interruption 2008-10-25T12:54:00+00:00 2008-10-25T12:54:00+00:00 http://www.hughlane.ie/past/146-the-golden-bough-garrett-phelan-radio-tombs-and-interruption Michael Dempsey mdempsey.hughlane@dublincity.ie <p>This project of new work by Garrett Phelan consists of sculptural and drawing elements, all black in colour and each holding their meaning within their physical form. Radios are buried within each of the sculptures, or Tombs, broadcasting a barely audible random radio signal. Phelan does not use artificial light in the space, only the natural light falling from the ceiling above. Apart from the feint sound the only apparent existence of electromagnetics within the space are the plugs from the Radio Tombs entering the sockets on the wall and the black wire flexes forming snake-like shapes around the Tombs. Texts are cast onto the concrete surface of the Radio Tombs adding a cryptic entry point into the meaning of the work. As a counterbalance to the Tombs, Phelan sprays directly onto the gallery wall one of his black ‘Interruptions - a dark and unfathomable form.</p> <p>The Golden Bough suite of exhibitions, in Gallery Eight of Dublin City Gallery The Hugh Lane, began in March 2008 with a selection of work by artist <a href="exhibition_detail.php?id=45&tf=Past" target="_self">Dorothy Cross</a>. Garrett Phelan's exhibition will be followed in the series by Grace Weir in February 2009.</p> <p>This project of new work by Garrett Phelan consists of sculptural and drawing elements, all black in colour and each holding their meaning within their physical form. Radios are buried within each of the sculptures, or Tombs, broadcasting a barely audible random radio signal. Phelan does not use artificial light in the space, only the natural light falling from the ceiling above. Apart from the feint sound the only apparent existence of electromagnetics within the space are the plugs from the Radio Tombs entering the sockets on the wall and the black wire flexes forming snake-like shapes around the Tombs. Texts are cast onto the concrete surface of the Radio Tombs adding a cryptic entry point into the meaning of the work. As a counterbalance to the Tombs, Phelan sprays directly onto the gallery wall one of his black ‘Interruptions - a dark and unfathomable form.</p> <p>The Golden Bough suite of exhibitions, in Gallery Eight of Dublin City Gallery The Hugh Lane, began in March 2008 with a selection of work by artist <a href="exhibition_detail.php?id=45&tf=Past" target="_self">Dorothy Cross</a>. Garrett Phelan's exhibition will be followed in the series by Grace Weir in February 2009.</p> Hugh Lane Centenary Print Collection 2008-11-20T12:54:00+00:00 2008-11-20T12:54:00+00:00 http://www.hughlane.ie/past/147-hugh-lane-centenary-print-collection Michael Dempsey mdempsey.hughlane@dublincity.ie <p>A unique collaboration between Dublin City Gallery The Hugh Lane and Dorothy Cross, Willie Doherty, Barry Flanagan and Keith Milow, Louis le Brocquy, Ciarán Lennon, Anne Madden, Elizabeth Magill, Brian Maguire, Brian O’Doherty, Kathy Prendergast, Patrick Scott, Sean Scully and Seán Shanahan. Mindful of the concept and the ethos of Hugh Lane supporting contemporary practice, the resulting prints are as exceptional as they are rare. These 13 prints in custom-designed box sets will be sold in aid of the Gallery’s purchasing fund. For further information please contact Michael Dempsey, Head of Exhibitions.</p> <p> </p> <p>A unique collaboration between Dublin City Gallery The Hugh Lane and Dorothy Cross, Willie Doherty, Barry Flanagan and Keith Milow, Louis le Brocquy, Ciarán Lennon, Anne Madden, Elizabeth Magill, Brian Maguire, Brian O’Doherty, Kathy Prendergast, Patrick Scott, Sean Scully and Seán Shanahan. Mindful of the concept and the ethos of Hugh Lane supporting contemporary practice, the resulting prints are as exceptional as they are rare. These 13 prints in custom-designed box sets will be sold in aid of the Gallery’s purchasing fund. For further information please contact Michael Dempsey, Head of Exhibitions.</p> <p> </p> Hugh Lane 100 Years 2008-06-26T12:54:00+00:00 2008-06-26T12:54:00+00:00 http://www.hughlane.ie/past/148-hugh-lane-100-years Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Dublin City Gallery The Hugh Lane first opened its doors in Clonmell House, Harcourt Street, on 20 January 1908. It was known as The Municipal Gallery of Modern Art and presented an acclaimed collection brought together by Hugh Lane and his supporters. 'Hugh Lane 100 Years' features a significant selection drawn from the 300 paintings, sculpture and works on paper shown when the gallery first opened along with additional works that illuminate the story of the founding of the Gallery.</p> <p>'Hugh Lane 100 Years' is a highlight of the Hugh Lane centenary celebrations, exhibiting the entire collection of 39 paintings known as the Hugh Lane Bequest of 1917. On loan from the National Gallery, London, this will be the first time the collection has been exhibited in Dublin since they were removed from Clonmell House in 1913.</p> <p>The 39 paintings include works by Edouard Manet, Claude Monet, Berthe Morisot and Pierre-Auguste Renoir. In addition to the works from the Hugh Lane 1917 Bequest, the exhibition presents work by key Irish and international artists including William Orpen, Nathaniel Hone, George Russell, Antonio Mancini, John Singer Sargent, J.B.C. Corot and Auguste Rodin.</p> <p>A book illustrating the 39 Continental pictures is now available. A publication celebrating the centenary of Dublin City Gallery The Hugh Lane will be published by Scala in September.</p> <p>'Hugh Lane 100 Years' is supported by Investec, The Irish Times and The Department of Arts, Sport and Tourism. The Gallery's 2008-9 conservation internship is co-funded by The Heritage Council / An Chomhairle Oidhreachta.</p> <p>Admission FREE.</p> <p> </p> <p>Dublin City Gallery The Hugh Lane first opened its doors in Clonmell House, Harcourt Street, on 20 January 1908. It was known as The Municipal Gallery of Modern Art and presented an acclaimed collection brought together by Hugh Lane and his supporters. 'Hugh Lane 100 Years' features a significant selection drawn from the 300 paintings, sculpture and works on paper shown when the gallery first opened along with additional works that illuminate the story of the founding of the Gallery.</p> <p>'Hugh Lane 100 Years' is a highlight of the Hugh Lane centenary celebrations, exhibiting the entire collection of 39 paintings known as the Hugh Lane Bequest of 1917. On loan from the National Gallery, London, this will be the first time the collection has been exhibited in Dublin since they were removed from Clonmell House in 1913.</p> <p>The 39 paintings include works by Edouard Manet, Claude Monet, Berthe Morisot and Pierre-Auguste Renoir. In addition to the works from the Hugh Lane 1917 Bequest, the exhibition presents work by key Irish and international artists including William Orpen, Nathaniel Hone, George Russell, Antonio Mancini, John Singer Sargent, J.B.C. Corot and Auguste Rodin.</p> <p>A book illustrating the 39 Continental pictures is now available. A publication celebrating the centenary of Dublin City Gallery The Hugh Lane will be published by Scala in September.</p> <p>'Hugh Lane 100 Years' is supported by Investec, The Irish Times and The Department of Arts, Sport and Tourism. The Gallery's 2008-9 conservation internship is co-funded by The Heritage Council / An Chomhairle Oidhreachta.</p> <p>Admission FREE.</p> <p> </p> Hugh Lane 100 Years 2008-06-26T12:54:00+00:00 2008-06-26T12:54:00+00:00 http://www.hughlane.ie/past/149-hugh-lane-100-years-2 Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Due to the overwhelming success of the centenary exhibition, Hugh Lane 100 Years, a substantial part of the exhibition, drawn from the Gallery’s permanent collection, will remain on display until the end of 2008. This includes works by Irish, British and Continental artists, displayed throughout the ground floor of the Gallery. Highlights include paintings by Monet, Manet, Courbet and Degas, from the Lane Bequest 1917.</p> <p>A book accompanying the centenary exhibition called ‘Hugh Lane: Founder of a Gallery of Modern Art for Ireland’ is published by Scala Publishers. It celebrates the pioneering achievement of Hugh Lane in founding a gallery of modern art, one of the world’s first, in Dublin a century ago. The publication includes a full catalogue of the Hugh Lane 100 Years exhibition. Many of the world-renowned treasures collected by Lane are illustrated, including all of Lane’s contested thirty-nine Continental paintings, providing an insight into the man and his age.</p> <p>Distinguished essayists explore the importance of Lane’s legacy. Barbara Dawson, Robert O’Byrne and Roy Foster illuminate Lane’s life, the cultural context of Ireland in the early twentieth century and the controversy over the thirty-nine Continental paintings. Jessica O’Donnell, Philip McEvansoneya and Christopher Riopelle detail the founding of the collection, Lane’s acquisition of important Impressionist paintings and the wider European context for the collection. Joanna Shepard reveals the essential work of conservators in preparing Lane’s legacy for exhibition. Raymund Ryan, Seán O’Reilly and John Redmill explore the architectural context of the Gallery’s current home, Charlemont House, and the collections once housed there by Lord Charlemont, while Niamh Ann Kelly reflects on the relationship of contemporary art to the art of the past.</p> <p>Due to the overwhelming success of the centenary exhibition, Hugh Lane 100 Years, a substantial part of the exhibition, drawn from the Gallery’s permanent collection, will remain on display until the end of 2008. This includes works by Irish, British and Continental artists, displayed throughout the ground floor of the Gallery. Highlights include paintings by Monet, Manet, Courbet and Degas, from the Lane Bequest 1917.</p> <p>A book accompanying the centenary exhibition called ‘Hugh Lane: Founder of a Gallery of Modern Art for Ireland’ is published by Scala Publishers. It celebrates the pioneering achievement of Hugh Lane in founding a gallery of modern art, one of the world’s first, in Dublin a century ago. The publication includes a full catalogue of the Hugh Lane 100 Years exhibition. Many of the world-renowned treasures collected by Lane are illustrated, including all of Lane’s contested thirty-nine Continental paintings, providing an insight into the man and his age.</p> <p>Distinguished essayists explore the importance of Lane’s legacy. Barbara Dawson, Robert O’Byrne and Roy Foster illuminate Lane’s life, the cultural context of Ireland in the early twentieth century and the controversy over the thirty-nine Continental paintings. Jessica O’Donnell, Philip McEvansoneya and Christopher Riopelle detail the founding of the collection, Lane’s acquisition of important Impressionist paintings and the wider European context for the collection. Joanna Shepard reveals the essential work of conservators in preparing Lane’s legacy for exhibition. Raymund Ryan, Seán O’Reilly and John Redmill explore the architectural context of the Gallery’s current home, Charlemont House, and the collections once housed there by Lord Charlemont, while Niamh Ann Kelly reflects on the relationship of contemporary art to the art of the past.</p> Other Men's Flowers 2008-07-26T12:54:55+00:00 2008-07-26T12:54:55+00:00 http://www.hughlane.ie/past/139-other-mens-flowers General Enquiries info.hughlane@dublincity.ie <p>Jeff Wall, Edwin Lutyens, Leon Kossoff, Martin Kippenberger, Patrick Hall, Patrick Graham, Ben Geoghegan, Brian Fay, Michael Farrell, Francis Bacon, Frank Auerbach</p> <p>Curated by Michael Dempsey, Head of Exhibitions</p> <p>The art of the past and the great collections in which it is housed have always been an important resource for artists. Either using it as a source to extract lessons of relevance for their own work or wrestling with the tradition and transforming it into something of their own making, artists consistently acknowledge the value of the work of artists of previous generation in advancing the ‘new’ and establishing their own position in the long history of art. For some, such as Leon Kossoff and Frank Auerbach, this engagement with the past is based on a close study of the hand of great masters and is a continual process of technical discovery. For others, such as Francis Bacon, Jeff Wall and Martin Kippenberger, the art of the past is a source of ideas to be interpreted and refashioned in works of a very different kind.</p> <p>Taken from a quote by the French moralist Michel de Montaigne – ‘in this book I have only made up a bunch of other men’s flowers, providing of my own only the string that ties them together’ – this exhibition draws on the collections of the Tate and Dublin City Gallery The Hugh Lane as well as the private collections of the artists, and attempts to set up a dialectic discord between diverse artistic approaches. In seeking to address the nature and obligations of working within the art of the past and collections, ‘Other Men’s Flowers’ asks what are the responsibilities to context when bringing such a disparate group of works together? What useful histories can unfold? How might we usefully understand the gaps and discrepancies in art production and dissemination?</p> <p>The exhibition is less concerned with histories of representation and illusion than with the lived experience or intervention offered by the work of art and with how artists deal with this experience as it somehow transforms their own field of vision.</p> <p>Jeff Wall, Edwin Lutyens, Leon Kossoff, Martin Kippenberger, Patrick Hall, Patrick Graham, Ben Geoghegan, Brian Fay, Michael Farrell, Francis Bacon, Frank Auerbach</p> <p>Curated by Michael Dempsey, Head of Exhibitions</p> <p>The art of the past and the great collections in which it is housed have always been an important resource for artists. Either using it as a source to extract lessons of relevance for their own work or wrestling with the tradition and transforming it into something of their own making, artists consistently acknowledge the value of the work of artists of previous generation in advancing the ‘new’ and establishing their own position in the long history of art. For some, such as Leon Kossoff and Frank Auerbach, this engagement with the past is based on a close study of the hand of great masters and is a continual process of technical discovery. For others, such as Francis Bacon, Jeff Wall and Martin Kippenberger, the art of the past is a source of ideas to be interpreted and refashioned in works of a very different kind.</p> <p>Taken from a quote by the French moralist Michel de Montaigne – ‘in this book I have only made up a bunch of other men’s flowers, providing of my own only the string that ties them together’ – this exhibition draws on the collections of the Tate and Dublin City Gallery The Hugh Lane as well as the private collections of the artists, and attempts to set up a dialectic discord between diverse artistic approaches. In seeking to address the nature and obligations of working within the art of the past and collections, ‘Other Men’s Flowers’ asks what are the responsibilities to context when bringing such a disparate group of works together? What useful histories can unfold? How might we usefully understand the gaps and discrepancies in art production and dissemination?</p> <p>The exhibition is less concerned with histories of representation and illusion than with the lived experience or intervention offered by the work of art and with how artists deal with this experience as it somehow transforms their own field of vision.</p> The Golden Bough: Corban Walker 2009-09-30T00:00:00+00:00 2009-09-30T00:00:00+00:00 http://www.hughlane.ie/past/151-the-golden-bough-corban-walker Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Corban Walker has gained recognition for his installations, sculptures, and drawings that relate to perceptions of scale and architectural constructs.  Local, cultural, and specific philosophies of scale are fundamental to how he defines and develops his work, creating new means for viewers to interact and navigate their surroundings.</p> <p>Corban Walker has gained recognition for his installations, sculptures, and drawings that relate to perceptions of scale and architectural constructs.  Local, cultural, and specific philosophies of scale are fundamental to how he defines and develops his work, creating new means for viewers to interact and navigate their surroundings.</p> Ellsworth Kelly: Drawings 1954-62 2010-03-17T16:23:00+00:00 2010-03-17T16:23:00+00:00 http://www.hughlane.ie/past/162-ellsworth-kelly-drawings-1954-62 Michael Dempsey mdempsey.hughlane@dublincity.ie <p>In 2006 Dublin City Gallery The Hugh Lane acquired Black Relief over Yellow and Orange by American artist Ellsworth Kelly. It is a perfect example of Kelly's continued investigation into both painting and the real world. In light of this Dublin City Gallery The Hugh Lane in association with mima (Middlesbrough Institute of Modern Art) is delighted to present an exhibition of drawings by Ellsworth Kelly.<br /><br />The focus of this solo presentation, personally selected by the artist, is a series of drawings executed between 1954 and 1962. With the support of a US education grant on the G.I. Bill, he travelled in 1948 to Paris, using it as a European base for six years. Returning to New York abstract art meant something altogether different to Ellsworth Kelly than it did to the American abstract artists at that time among them Jackson Pollock, Franz Kline and Willem de Kooning. After six years in France, Kelly's sensibility had been shaped by his admiration for European culture, the Musée du Louvre, the Musée de l'Homme, and the Romanesque churches in Tavant, Saint-Savin and Poitiers.<br /><br />In 1954 Kelly moved back to the USA in the belief that Abstract Expressionism was not so dominant as to preclude an acceptance of his art. He moved into a loft in Manhattan within a community of artists that included Agnes Martin, James Rosenquist and Kelly's colleague from Paris, Jack Youngerman. In a variety of techniques including ink, graphite, oil paint and collage the twenty-one drawings in this exhibition embody his approach. They illustrate what was for him a prolific and pivotal eight-year period where he was fine-tuning a new model of abstraction based on the extraction of ideas and shapes from everyday life and nature.<br /><br />"Everywhere I looked, everything I saw became something to be made, and it had to be exactly as it was, with nothing added." Obsessively pursuing a way of framing the world, focused upon line, form and colour Kelly experienced and noted shape and geometry wherever he went; straight lines, horizontals, verticals, diagonals, curves, ellipses and trapezoids. Biomorphic experiments playing one curve off another, or one form to another. Fifty years on, they continue to reward the viewer. They energise the eye, sway you and force a bewildering delight.</p> <p>In 2006 Dublin City Gallery The Hugh Lane acquired Black Relief over Yellow and Orange by American artist Ellsworth Kelly. It is a perfect example of Kelly's continued investigation into both painting and the real world. In light of this Dublin City Gallery The Hugh Lane in association with mima (Middlesbrough Institute of Modern Art) is delighted to present an exhibition of drawings by Ellsworth Kelly.<br /><br />The focus of this solo presentation, personally selected by the artist, is a series of drawings executed between 1954 and 1962. With the support of a US education grant on the G.I. Bill, he travelled in 1948 to Paris, using it as a European base for six years. Returning to New York abstract art meant something altogether different to Ellsworth Kelly than it did to the American abstract artists at that time among them Jackson Pollock, Franz Kline and Willem de Kooning. After six years in France, Kelly's sensibility had been shaped by his admiration for European culture, the Musée du Louvre, the Musée de l'Homme, and the Romanesque churches in Tavant, Saint-Savin and Poitiers.<br /><br />In 1954 Kelly moved back to the USA in the belief that Abstract Expressionism was not so dominant as to preclude an acceptance of his art. He moved into a loft in Manhattan within a community of artists that included Agnes Martin, James Rosenquist and Kelly's colleague from Paris, Jack Youngerman. In a variety of techniques including ink, graphite, oil paint and collage the twenty-one drawings in this exhibition embody his approach. They illustrate what was for him a prolific and pivotal eight-year period where he was fine-tuning a new model of abstraction based on the extraction of ideas and shapes from everyday life and nature.<br /><br />"Everywhere I looked, everything I saw became something to be made, and it had to be exactly as it was, with nothing added." Obsessively pursuing a way of framing the world, focused upon line, form and colour Kelly experienced and noted shape and geometry wherever he went; straight lines, horizontals, verticals, diagonals, curves, ellipses and trapezoids. Biomorphic experiments playing one curve off another, or one form to another. Fifty years on, they continue to reward the viewer. They energise the eye, sway you and force a bewildering delight.</p> Chris Doris: 10 Poets Observe in Silence 2010-05-22T10:00:00+00:00 2010-05-22T10:00:00+00:00 http://www.hughlane.ie/past/159-chris-doris-10-poets-observe-in-silence Michael Dempsey mdempsey.hughlane@dublincity.ie <p>For One Working Day : Saturday 22nd May 10-5pm. Break 1-2pm</p> <p>The two-fold life of mankind sees us struggling in the concrete and reflecting in the abstract. In the former we suffer and die, but in the abstract we quietly reflect on the plan of the universe as does a navigator on a ship’s chart. When Chris Doris proposed this event to me for the Sculpture Hall he opened up a channel of memory that I had locked away since my time spent in studio practice. Slowing time down through silent observance allowed me to ‘see things’ not by looking but by being in the ‘presence of’ an artwork. My hope in this event is to open up that way of seeing in the context of a museum and its collection of artworks, thus revealing the power of an aesthetic experience that one can perceive each time you visit The Hugh Lane.</p> <p>10 POETS OBSERVE IN SILENCE is one in a series of public artworks in which Chris Doris utilizes silence as a medium of shared public inquiry. In this case ten prominent Irish poets collaborate with the artist.</p> <p>Chris Doris enacted <em>40 Days and 40 Nights</em> as a public artwork on Croagh Patrick in 1999. This opened the way for a series of silence works by the artist which include <em>Silencer-30 days of silence</em> 2007 and <em>WHATSHAPPENING</em> 2009 in Dáil éireann, the Irish Parliament.</p> <p>Doris' studio-based and public works are informed by 20 years of academic and practical research in Eastern philosophy, Western psychology and science. He is currently doing an M.A. in Core Process Psychotherapy, which integrates Buddhist psychology and Western developmental psychology.</p> <p>Michael Dempsey. Head of Exhibitions</p> <p><br />For 10 POETS OBSERVE IN SILENCE, eminent Irish poets, Nuala Ní Dhomhnaill, Chris Agee, Paddy Bushe, Kevin Higgins, Rachel Hegarty, Seamus Cashman, Patrick Chapman, Barbara Smith, Eamonn Lynskey, Eileen Sheehan and the artist, sit in sustained silence in the sculpture hall of Dublin City Gallery The Hugh Lane. The participants observe ‘self’ as process, conditioned responsiveness and emergent stillness. Awareness moves to phenomena arising in the local and non-local relational fields and switches to and from self process.</p> <p>10 poets is informed by congruencies in the research of physics, biology, neuroscience, western psychology and eastern experiential, philosophical practices.</p> <p>The work is neither performance nor spectacle of endurance - it is an invitation to a subtle & formative mode of observation and communication.</p> <p>Public participation is invited at the venue and non-locally, by remote attention.</p> <p>For One Working Day : Saturday 22nd May 10-5pm. Break 1-2pm</p> <p>The two-fold life of mankind sees us struggling in the concrete and reflecting in the abstract. In the former we suffer and die, but in the abstract we quietly reflect on the plan of the universe as does a navigator on a ship’s chart. When Chris Doris proposed this event to me for the Sculpture Hall he opened up a channel of memory that I had locked away since my time spent in studio practice. Slowing time down through silent observance allowed me to ‘see things’ not by looking but by being in the ‘presence of’ an artwork. My hope in this event is to open up that way of seeing in the context of a museum and its collection of artworks, thus revealing the power of an aesthetic experience that one can perceive each time you visit The Hugh Lane.</p> <p>10 POETS OBSERVE IN SILENCE is one in a series of public artworks in which Chris Doris utilizes silence as a medium of shared public inquiry. In this case ten prominent Irish poets collaborate with the artist.</p> <p>Chris Doris enacted <em>40 Days and 40 Nights</em> as a public artwork on Croagh Patrick in 1999. This opened the way for a series of silence works by the artist which include <em>Silencer-30 days of silence</em> 2007 and <em>WHATSHAPPENING</em> 2009 in Dáil éireann, the Irish Parliament.</p> <p>Doris' studio-based and public works are informed by 20 years of academic and practical research in Eastern philosophy, Western psychology and science. He is currently doing an M.A. in Core Process Psychotherapy, which integrates Buddhist psychology and Western developmental psychology.</p> <p>Michael Dempsey. Head of Exhibitions</p> <p><br />For 10 POETS OBSERVE IN SILENCE, eminent Irish poets, Nuala Ní Dhomhnaill, Chris Agee, Paddy Bushe, Kevin Higgins, Rachel Hegarty, Seamus Cashman, Patrick Chapman, Barbara Smith, Eamonn Lynskey, Eileen Sheehan and the artist, sit in sustained silence in the sculpture hall of Dublin City Gallery The Hugh Lane. The participants observe ‘self’ as process, conditioned responsiveness and emergent stillness. Awareness moves to phenomena arising in the local and non-local relational fields and switches to and from self process.</p> <p>10 poets is informed by congruencies in the research of physics, biology, neuroscience, western psychology and eastern experiential, philosophical practices.</p> <p>The work is neither performance nor spectacle of endurance - it is an invitation to a subtle & formative mode of observation and communication.</p> <p>Public participation is invited at the venue and non-locally, by remote attention.</p> Francis Bacon: A Terrible Beauty 2009-10-28T16:23:00+00:00 2009-10-28T16:23:00+00:00 http://www.hughlane.ie/past/152-francis-bacon-a-terrible-beauty General Enquiries info.hughlane@dublincity.ie <p><em>Francis Bacon: A Terrible Beauty</em> celebrates the centenary of Francis Bacon's birth in 63, Lower Baggot Street, Dublin. This exhibition comprising paintings, drawings, photographs, unfinished works and slashed canvases offers the viewer an astonishing new look at Francis Bacon, the great figurative painter of the 20th century. It provides an opportunity to reappraise his <em>oeuvre</em> through the selected paintings, several of which have not been on public exhibition for many years. The mastery of Francis Bacon is revealed through these works, supported by an extensive and previously unseen selection of items from Bacon’s Studio.</p> <p>Following on the donation of the Studio to the Hugh Lane by John Edwards in 1998, the 7,000 plus items retrieved from the studio were archived by The Hugh Lane. Francis Bacon’s Studio has been on permanent exhibition at Dublin City Gallery The Hugh Lane since 2001. It is acknowledged as one of the most pioneering and successful realisations of preserving and displaying an artist’s studio and contents. The database is unprecedented, documenting every item retrieved, thus providing fascinating insights into Bacon’s working processes.</p> <p>The exhibition is co-curated by Barbara Dawson and Martin Harrison. It is accompanied by a richly illustrated catalogue that presents important new research on the artist. This is available from the gallery bookshop.</p> <p><em>Francis Bacon: A Terrible Beauty</em> is one of the major European cultural events of 2009. The exhibition tours to Compton Verney, Warwickshire, England, from 27 March to 20 June 2010.</p> <p>Admission is free.</p> <p>The exhibition is supported by The Department of Arts, Sport and Tourism, Fáilte Ireland, The Irish Times and RTé Supporting the Arts.</p> <p><span style="font-size: x-small;">Images (C) 2009 The Estate of Francis Bacon. All rights reserved / DACS, London</span></p> <p><em>Francis Bacon: A Terrible Beauty</em> celebrates the centenary of Francis Bacon's birth in 63, Lower Baggot Street, Dublin. This exhibition comprising paintings, drawings, photographs, unfinished works and slashed canvases offers the viewer an astonishing new look at Francis Bacon, the great figurative painter of the 20th century. It provides an opportunity to reappraise his <em>oeuvre</em> through the selected paintings, several of which have not been on public exhibition for many years. The mastery of Francis Bacon is revealed through these works, supported by an extensive and previously unseen selection of items from Bacon’s Studio.</p> <p>Following on the donation of the Studio to the Hugh Lane by John Edwards in 1998, the 7,000 plus items retrieved from the studio were archived by The Hugh Lane. Francis Bacon’s Studio has been on permanent exhibition at Dublin City Gallery The Hugh Lane since 2001. It is acknowledged as one of the most pioneering and successful realisations of preserving and displaying an artist’s studio and contents. The database is unprecedented, documenting every item retrieved, thus providing fascinating insights into Bacon’s working processes.</p> <p>The exhibition is co-curated by Barbara Dawson and Martin Harrison. It is accompanied by a richly illustrated catalogue that presents important new research on the artist. This is available from the gallery bookshop.</p> <p><em>Francis Bacon: A Terrible Beauty</em> is one of the major European cultural events of 2009. The exhibition tours to Compton Verney, Warwickshire, England, from 27 March to 20 June 2010.</p> <p>Admission is free.</p> <p>The exhibition is supported by The Department of Arts, Sport and Tourism, Fáilte Ireland, The Irish Times and RTé Supporting the Arts.</p> <p><span style="font-size: x-small;">Images (C) 2009 The Estate of Francis Bacon. All rights reserved / DACS, London</span></p> The Quick and the Dead 2009-05-29T16:23:00+00:00 2009-05-29T16:23:00+00:00 http://www.hughlane.ie/past/153-the-quick-and-the-dead General Enquiries info.hughlane@dublincity.ie <p>Patrick Graham, Patrick Hall, Timothy Hawkesworth, Brian Maguire</p> <p><em>The Quick and the Dead</em> brings together four of Ireland’s most respected contemporary painters who emerged in the 1980s. In this period of uncertainty Patrick Graham, Patrick Hall, Timothy Hawkesworth and Brian Maguire consolidated their position by a dedication to a revival of painting and the search for existential meaning through aesthetic experience. Using the fundamental tools of colour and form these artists addressed not only the religious, political and social spheres of 1980’s Ireland but also the universal condition of existing in the modern world.</p> <p>In 1986 the artists featured in <em>4 Irish Expressionist Painters</em>, a collaborative exhibition between Northeastern University and Boston College in the United States. Over two decades later, an exhibition by same the four artists is presented at an equally uncertain time in Ireland. <em>The Quick and the Dead</em> brings together for the first time a selection of work from the last decades of the 20th century with work from the present. In this time of economic, social and political flux, the works in this exhibition encourage a reappraisal of issues that remain unresolved, reconnecting viewers to a rich and subversive history.</p> <p><em>The Quick and the Dead</em> is accompanied by a richly illustrated catalogue. Contributors include Colin Graham, Marlena Doktorczyk-Donohue, Lara Marlowe, Hans Ulrich Obrist and Patrick T. Murphy.</p> <p>Exhibition supported by <em>The Irish Times</em>.</p> <p> </p> <p>Patrick Graham, Patrick Hall, Timothy Hawkesworth, Brian Maguire</p> <p><em>The Quick and the Dead</em> brings together four of Ireland’s most respected contemporary painters who emerged in the 1980s. In this period of uncertainty Patrick Graham, Patrick Hall, Timothy Hawkesworth and Brian Maguire consolidated their position by a dedication to a revival of painting and the search for existential meaning through aesthetic experience. Using the fundamental tools of colour and form these artists addressed not only the religious, political and social spheres of 1980’s Ireland but also the universal condition of existing in the modern world.</p> <p>In 1986 the artists featured in <em>4 Irish Expressionist Painters</em>, a collaborative exhibition between Northeastern University and Boston College in the United States. Over two decades later, an exhibition by same the four artists is presented at an equally uncertain time in Ireland. <em>The Quick and the Dead</em> brings together for the first time a selection of work from the last decades of the 20th century with work from the present. In this time of economic, social and political flux, the works in this exhibition encourage a reappraisal of issues that remain unresolved, reconnecting viewers to a rich and subversive history.</p> <p><em>The Quick and the Dead</em> is accompanied by a richly illustrated catalogue. Contributors include Colin Graham, Marlena Doktorczyk-Donohue, Lara Marlowe, Hans Ulrich Obrist and Patrick T. Murphy.</p> <p>Exhibition supported by <em>The Irish Times</em>.</p> <p> </p> Yinka Shonibare, MBE 2009-02-26T16:23:00+00:00 2009-02-26T16:23:00+00:00 http://www.hughlane.ie/past/154-yinka-shonibare-mbe General Enquiries info.hughlane@dublincity.ie <p>Commissioned by Dublin City Gallery The Hugh Lane, Yinka Shonibare has created a new sculptural installation, <em>Egg Fight</em>, based on themes developed in Jonathan Swift’s <em>Gulliver’s Travels</em>. The work refers specifically to lengthy battles between the fictitious empires of Lilliput and Blefuscu over the religious question of “egg-breaking” which in Swift’s time symbolised the long series of wars between Catholic France and Protestant England.</p> <p>In addition to this new commission, Dublin City Gallery The Hugh Lane is pleased to exhibit a new series of large-scale drawings, entitled <em>Climate Shit Drawings</em>.</p> <p>Yinka Shonibare, MBE (b.1962) is a painter, photographer, filmmaker, and installation artist. His art is influenced by both the cultures of Nigeria, where he grew up, and England, where he studied and now lives. He has exhibited widely throughout the world, and was short-listed for the prestigious Turner Prize in 2004.</p> <p> </p> <p>Commissioned by Dublin City Gallery The Hugh Lane, Yinka Shonibare has created a new sculptural installation, <em>Egg Fight</em>, based on themes developed in Jonathan Swift’s <em>Gulliver’s Travels</em>. The work refers specifically to lengthy battles between the fictitious empires of Lilliput and Blefuscu over the religious question of “egg-breaking” which in Swift’s time symbolised the long series of wars between Catholic France and Protestant England.</p> <p>In addition to this new commission, Dublin City Gallery The Hugh Lane is pleased to exhibit a new series of large-scale drawings, entitled <em>Climate Shit Drawings</em>.</p> <p>Yinka Shonibare, MBE (b.1962) is a painter, photographer, filmmaker, and installation artist. His art is influenced by both the cultures of Nigeria, where he grew up, and England, where he studied and now lives. He has exhibited widely throughout the world, and was short-listed for the prestigious Turner Prize in 2004.</p> <p> </p> The Golden Bough: Brian Duggan: Step inside now step inside 2009-06-13T16:23:00+00:00 2009-06-13T16:23:00+00:00 http://www.hughlane.ie/past/155-the-golden-bough-brian-duggan-step-inside-now-step-inside General Enquiries info.hughlane@dublincity.ie <p>Applying The Golden Bough theme as underlining support structure for showcasing new innovative art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Charlemont House. The Golden Bough suite continues with new work by artist Brian Duggan. In this major new body of work, Duggan responds to the particular architecture of Gallery Eight and its unique context. The installation inserts a bisected carnival motordrome into the gallery and its presence both completes the internal loop and interrupts the classical space.</p> <p>An unstable equilibrium has often grounded Duggan’s work in the real world. Here risk, and the belief that unfamiliar tactics can circumnavigate it, is a model for understanding the positions we find ourselves in. With Step inside now step inside, the artist experiments with sound, sculpture, and light in the gallery, juxtaposing risky adventure with belief and the uncertain expectation of that which is unlikely can be made possible.</p> <p>The installation signals a new departure for Duggan’s practice, where the relationships between the spectacle and the real, now become entangled. The recurring concerns of pressure and stress, the questioning of the role and function of the artist, the unbalanced revision of our current position in the world, are all interlinked questions within the work. At the centre of the installation the endless repetitive loop is both a wry reflection on where we are and where we are going, but also a celebration of the extraordinary feat of defying gravity and death.</p> <p>Applying The Golden Bough theme as underlining support structure for showcasing new innovative art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Charlemont House. The Golden Bough suite continues with new work by artist Brian Duggan. In this major new body of work, Duggan responds to the particular architecture of Gallery Eight and its unique context. The installation inserts a bisected carnival motordrome into the gallery and its presence both completes the internal loop and interrupts the classical space.</p> <p>An unstable equilibrium has often grounded Duggan’s work in the real world. Here risk, and the belief that unfamiliar tactics can circumnavigate it, is a model for understanding the positions we find ourselves in. With Step inside now step inside, the artist experiments with sound, sculpture, and light in the gallery, juxtaposing risky adventure with belief and the uncertain expectation of that which is unlikely can be made possible.</p> <p>The installation signals a new departure for Duggan’s practice, where the relationships between the spectacle and the real, now become entangled. The recurring concerns of pressure and stress, the questioning of the role and function of the artist, the unbalanced revision of our current position in the world, are all interlinked questions within the work. At the centre of the installation the endless repetitive loop is both a wry reflection on where we are and where we are going, but also a celebration of the extraordinary feat of defying gravity and death.</p> The Golden Bough: Grace Weir: In my own time 2009-02-26T16:23:00+00:00 2009-02-26T16:23:00+00:00 http://www.hughlane.ie/past/156-the-golden-bough-grace-weir-in-my-own-time General Enquiries info.hughlane@dublincity.ie <p>Applying the Golden Bough theme as underlining support structure for showcasing significant art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Gallery Eight of Charlemont House. The Golden Bough suite continues with work by artist Grace Weir.</p> <p>Weir’s exhibition is an installation centred on her film, <em>In my own time</em>. The film consists of a series of interlinking episodes that explore philosophical, scientific and cross-cultural attitudes to perceptions of time. Einstein's theories regarding the relativity of time, contentious scientific questions about whether the world’s civil timekeeping may slowly diverge from the rotation of the earth, and an investigation into the potential for time travel are among the topics investigated. These sit alongside episodes revealing how, in ancient societies, before weights and measures were standardised, time and space were regarded in terms of direct experience. Weir draws on Vedic texts which use “as long as it takes to milk a cow” to measure time and “ the range of a stone thrown by a man of medium stature” to measure distance.</p> <p>Strongly influenced by 19th-century scientific demonstrations, the artist explores these ideas through her own actions and activities. However Weir’s work is as much involved with the qualities and structures of film-making as it is with science. The film explores the connection between the concept of one’s self as a being in time and the sense of one’s life as a narrative. Weir seeks to align a lived experience of the world with scientific understanding, and she is interested in an approach to film-making that acknowledges the necessary subjectivity of all experience. Events in the film are portrayed in a rational, almost documentary style; but oscillate between fact and fiction and between documentary and cinematic illusion.</p> <p>Forming the rest of the installation are two works, one an animation called <em>Clock</em> shows a dandelion seed head rotating on its stem. The other, <em>Script 1</em>, is the first in a new series of short films, showing the artist creating pinholes in a piece of paper to spell out words, relevant to the filmed activity or making reference to filmic terms, which appear when held up to a beam of light.</p> <p>Applying the Golden Bough theme as underlining support structure for showcasing significant art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Gallery Eight of Charlemont House. The Golden Bough suite continues with work by artist Grace Weir.</p> <p>Weir’s exhibition is an installation centred on her film, <em>In my own time</em>. The film consists of a series of interlinking episodes that explore philosophical, scientific and cross-cultural attitudes to perceptions of time. Einstein's theories regarding the relativity of time, contentious scientific questions about whether the world’s civil timekeeping may slowly diverge from the rotation of the earth, and an investigation into the potential for time travel are among the topics investigated. These sit alongside episodes revealing how, in ancient societies, before weights and measures were standardised, time and space were regarded in terms of direct experience. Weir draws on Vedic texts which use “as long as it takes to milk a cow” to measure time and “ the range of a stone thrown by a man of medium stature” to measure distance.</p> <p>Strongly influenced by 19th-century scientific demonstrations, the artist explores these ideas through her own actions and activities. However Weir’s work is as much involved with the qualities and structures of film-making as it is with science. The film explores the connection between the concept of one’s self as a being in time and the sense of one’s life as a narrative. Weir seeks to align a lived experience of the world with scientific understanding, and she is interested in an approach to film-making that acknowledges the necessary subjectivity of all experience. Events in the film are portrayed in a rational, almost documentary style; but oscillate between fact and fiction and between documentary and cinematic illusion.</p> <p>Forming the rest of the installation are two works, one an animation called <em>Clock</em> shows a dandelion seed head rotating on its stem. The other, <em>Script 1</em>, is the first in a new series of short films, showing the artist creating pinholes in a piece of paper to spell out words, relevant to the filmed activity or making reference to filmic terms, which appear when held up to a beam of light.</p> Frequency: Mark Garry, Pádraig Timoney, Hayley Tompkins 2009-02-26T16:23:00+00:00 2009-02-26T16:23:00+00:00 http://www.hughlane.ie/past/157-frequency-mark-garry-padraig-timoney-hayley-tompkins General Enquiries info.hughlane@dublincity.ie <p>Curated by Michael Dempsey</p> <p>Anachronistic in a secular society where almost every object has a defined function and end use, the works of artists Mark Garry, Pádraig Timoney and Hayley Tompkins expose and explore possibilities of contingency and transformation.</p> <p>The over saturation of information we receive in our hypermodern, post-global era continues to expand and accelerate. As witnessed in the fashions of the entertainment industry, the ever widening and rationalising sphere of technology results in the solidification and stagnation of our avenues of perception.</p> <p><em>Frequency</em> raises questions of ethics and value that emerges in the work of these artists and their relationship to aesthetics. It encourages a reappraisal of the established views of reality and provide us with points of departure for alternative frameworks with which we may rethink our perceived knowledge of the world.</p> <p>Mark Garry’s work stems from a fundamental interest in observing how humans navigate the world and the subjectivity inherent in these navigations.</p> <p>Pádraig Timoney’s work, informed by the way meaning is constructed in and through art, juxtaposes concepts and languages to create layers of signification which viewers are invited to disentangle.</p> <p>Hayley Tompkins has become associated with the small, lo-tech, unframed watercolour drawings that are installed, often staged, with the viewer's physical encounter in mind.</p> <p>Curated by Michael Dempsey</p> <p>Anachronistic in a secular society where almost every object has a defined function and end use, the works of artists Mark Garry, Pádraig Timoney and Hayley Tompkins expose and explore possibilities of contingency and transformation.</p> <p>The over saturation of information we receive in our hypermodern, post-global era continues to expand and accelerate. As witnessed in the fashions of the entertainment industry, the ever widening and rationalising sphere of technology results in the solidification and stagnation of our avenues of perception.</p> <p><em>Frequency</em> raises questions of ethics and value that emerges in the work of these artists and their relationship to aesthetics. It encourages a reappraisal of the established views of reality and provide us with points of departure for alternative frameworks with which we may rethink our perceived knowledge of the world.</p> <p>Mark Garry’s work stems from a fundamental interest in observing how humans navigate the world and the subjectivity inherent in these navigations.</p> <p>Pádraig Timoney’s work, informed by the way meaning is constructed in and through art, juxtaposes concepts and languages to create layers of signification which viewers are invited to disentangle.</p> <p>Hayley Tompkins has become associated with the small, lo-tech, unframed watercolour drawings that are installed, often staged, with the viewer's physical encounter in mind.</p> The Golden Bough: Ronnie Hughes: Hybrid Cabinet 2010-08-05T16:23:00+00:00 2010-08-05T16:23:00+00:00 http://www.hughlane.ie/past/158-the-golden-bough-ronnie-hughes-hybrid-cabinet General Enquiries info.hughlane@dublincity.ie <p>Curated by Michael Dempsey<br /><br />The motives behind the Golden Bough myth have operated widely, perhaps universally, in human society, producing in varied circumstances, a variety of institutions, specifically different but generically alike. The crowned heads of each successive generation of [artists] lays uneasy. The least relaxation of their stance, the smallest abatement of their strength of argument or skill of fence, puts them in jeopardy of losing their position in the canon of art history.</p> <p>Such is the rule of the sanctuary. A striking resemblance to the hegemony of eurocentric art history rhetoric from which the question arises - How does the emerging avant garde (if we can still use this term..?) artist gain acceptance in today’s institutional context? A multitude of metaphors can be extracted from the text by James George Frazer and it illuminates some of the systems that different societies have used to catalogue and understand the nature of the world. Applying this theme as underlining support structure for showcasing significant art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Gallery eight of Charlemont House, thus placing them in direct dialogue with an institutional and historical context.</p> <p>Ronnie Hughes’ work has long been interested in this idea of studying ‘nature’; the search to uncover order or pattern within arbitrary phenomena, the setting up of complex hierarchies, classifications, models and conjectures – the quest, or perhaps yearning, for meaning. Hughes’s recent works allude to tensions between fate and accident, order and entropy, between the teleological and the merely random.</p> <p>Hybrid Cabinet, the title of Hughes’ installation at the Hugh Lane Gallery, is comprised of several elements: There is a series of six small paintings that in various ways straddle the border between the natural and the artificial. The wallpaper-like pattern in <em>Template</em> and <em>Pladis</em> is composed from a dismantled plastic pterodactyl that, figuratively speaking, becomes fossilised in the paintings’ surface. <em>Deviant</em> is a discordant corruption of an initially similar pattern.</p> <p>The apparent abstraction of <em>Rime</em> is contradicted by its title which suddenly allows a much more representational reading.  Hughes see the pairing of <em>Clatter</em> and <em>Fringilla</em> as akin to a call and response between finches outside his (rural) studio - the arrangements of hard edge triangles like cartoon beaks.</p> <p>Also included in the installation is a long horizontal sequence of 15 <em>Hybrid</em> drawings that seeks to evoke the taxonomies of a natural history museum exhibit - 15 creatures that on closer inspection turn out to be Frankensteinian amalgams of consumer products.</p> <p>Finally, <em>Anatomy Lesson</em> is a large drawing laid out forensically upon a glass-topped stainless steel table. The drawing is derived from a series of points on a Chinese acupuncture chart but which Hughes has extended to form a unique circuit that is intended to simultaneously suggest both the physical and the immaterial.</p> <p>Curated by Michael Dempsey<br /><br />The motives behind the Golden Bough myth have operated widely, perhaps universally, in human society, producing in varied circumstances, a variety of institutions, specifically different but generically alike. The crowned heads of each successive generation of [artists] lays uneasy. The least relaxation of their stance, the smallest abatement of their strength of argument or skill of fence, puts them in jeopardy of losing their position in the canon of art history.</p> <p>Such is the rule of the sanctuary. A striking resemblance to the hegemony of eurocentric art history rhetoric from which the question arises - How does the emerging avant garde (if we can still use this term..?) artist gain acceptance in today’s institutional context? A multitude of metaphors can be extracted from the text by James George Frazer and it illuminates some of the systems that different societies have used to catalogue and understand the nature of the world. Applying this theme as underlining support structure for showcasing significant art practices, Dublin City Gallery The Hugh Lane has invited distinguished contemporary artists to exhibit in Gallery eight of Charlemont House, thus placing them in direct dialogue with an institutional and historical context.</p> <p>Ronnie Hughes’ work has long been interested in this idea of studying ‘nature’; the search to uncover order or pattern within arbitrary phenomena, the setting up of complex hierarchies, classifications, models and conjectures – the quest, or perhaps yearning, for meaning. Hughes’s recent works allude to tensions between fate and accident, order and entropy, between the teleological and the merely random.</p> <p>Hybrid Cabinet, the title of Hughes’ installation at the Hugh Lane Gallery, is comprised of several elements: There is a series of six small paintings that in various ways straddle the border between the natural and the artificial. The wallpaper-like pattern in <em>Template</em> and <em>Pladis</em> is composed from a dismantled plastic pterodactyl that, figuratively speaking, becomes fossilised in the paintings’ surface. <em>Deviant</em> is a discordant corruption of an initially similar pattern.</p> <p>The apparent abstraction of <em>Rime</em> is contradicted by its title which suddenly allows a much more representational reading.  Hughes see the pairing of <em>Clatter</em> and <em>Fringilla</em> as akin to a call and response between finches outside his (rural) studio - the arrangements of hard edge triangles like cartoon beaks.</p> <p>Also included in the installation is a long horizontal sequence of 15 <em>Hybrid</em> drawings that seeks to evoke the taxonomies of a natural history museum exhibit - 15 creatures that on closer inspection turn out to be Frankensteinian amalgams of consumer products.</p> <p>Finally, <em>Anatomy Lesson</em> is a large drawing laid out forensically upon a glass-topped stainless steel table. The drawing is derived from a series of points on a Chinese acupuncture chart but which Hughes has extended to form a unique circuit that is intended to simultaneously suggest both the physical and the immaterial.</p> Sir John Lavery: Passion and Politics 2010-07-15T10:00:00+00:00 2010-07-15T10:00:00+00:00 http://www.hughlane.ie/past/160-sir-john-lavery-passion-and-politics General Enquiries info.hughlane@dublincity.ie <p>Curated by Sinéad McCoole<br />Assisted by Michael Dempsey</p> <p>Sir John Lavery was one of the most famous celebrity portrait painters at the turn of the 20th century. He and his beautiful wife Hazel, who was born in Chicago, were the original celebrity couple in London society where John enjoyed huge patronage from the British establishment. They counted Winston Churchill among their friends and Hazel, herself an artist, taught him to paint.</p> <p>Sir John Lavery donated a substantial number of works to The Hugh Lane when his wife Hazel died in 1935. Previously, in 1929, he donated a large collection of work to the then Belfast Museum and Art Gallery, now the Ulster Museum. These two donations to the North and South of the ‘Island of Ireland’ provide a unique insight into that turbulent period of our history. It is one of the most singular and significant historical records of the period and is at the heart of this exhibition, <em>Sir John Lavery: Passion and Politics</em>. The exhibition includes film and archive material, never shown in public exhibition before, that provide insights into the social and political context in which Lavery was painting. <em>Passion and Politics</em> documents the lives of Sir John and Hazel Lavery and their involvement in a newly shaped Ireland, a partitioned Ireland, which had only recently been formalised at the time of his gift.</p> <p>John Lavery’s passion for his wife is steadfast throughout his career. She was his muse. As her fame and reputation grew Hazel became an inspiration for others. As a media conscious couple, they saw the advantage of press attention and used it to the full. They contrived a celebrity cult status unprecedented in society of that time and Lavery's portraits of pre and post war England is redolent of the life of the privileged classes. His Irish oeuvre however is centred mainly on historic events and religious, political and social subjects.</p> <p>Central to this exhibition is the large triptych entitled <em>The Madonna of the Lakes</em>, which Lavery donated to the church in which he had been baptised: St Patrick’s Roman Catholic Church, Belfast. The work is based on a tableau vivant that depicts Hazel as the Madonna and consolidates her iconic status. Commissioned by the Irish Free State Government to design the new bank notes, Lavery used Hazel as his model for <em>Kathleen Ni Houlihan</em>. The original painting for this image is on view in this exhibition.</p> <p>Another highlight of the exhibition is <em>High Treason, Court of Criminal Appeal: the Trial of Roger Casement</em>, a large painting of one of the great miscarriages of justice from that period. Lavery paints the court room scene where Sir Roger Casement made his appeal against his sentencing for treason for attempting to bring arms from Germany to Ireland in support of the 1916 Rising. This work was an extremely brave undertaking for an artist whose livelihood was derived primarily from patronage by the British establishment.</p> <p>The exhibition is accompanied by a catalogue with new research and essay by Sinéad McCoole, author of <em>Hazel: A Life of Lady Lavery</em>.</p> <p>Curated by Sinéad McCoole<br />Assisted by Michael Dempsey</p> <p>Sir John Lavery was one of the most famous celebrity portrait painters at the turn of the 20th century. He and his beautiful wife Hazel, who was born in Chicago, were the original celebrity couple in London society where John enjoyed huge patronage from the British establishment. They counted Winston Churchill among their friends and Hazel, herself an artist, taught him to paint.</p> <p>Sir John Lavery donated a substantial number of works to The Hugh Lane when his wife Hazel died in 1935. Previously, in 1929, he donated a large collection of work to the then Belfast Museum and Art Gallery, now the Ulster Museum. These two donations to the North and South of the ‘Island of Ireland’ provide a unique insight into that turbulent period of our history. It is one of the most singular and significant historical records of the period and is at the heart of this exhibition, <em>Sir John Lavery: Passion and Politics</em>. The exhibition includes film and archive material, never shown in public exhibition before, that provide insights into the social and political context in which Lavery was painting. <em>Passion and Politics</em> documents the lives of Sir John and Hazel Lavery and their involvement in a newly shaped Ireland, a partitioned Ireland, which had only recently been formalised at the time of his gift.</p> <p>John Lavery’s passion for his wife is steadfast throughout his career. She was his muse. As her fame and reputation grew Hazel became an inspiration for others. As a media conscious couple, they saw the advantage of press attention and used it to the full. They contrived a celebrity cult status unprecedented in society of that time and Lavery's portraits of pre and post war England is redolent of the life of the privileged classes. His Irish oeuvre however is centred mainly on historic events and religious, political and social subjects.</p> <p>Central to this exhibition is the large triptych entitled <em>The Madonna of the Lakes</em>, which Lavery donated to the church in which he had been baptised: St Patrick’s Roman Catholic Church, Belfast. The work is based on a tableau vivant that depicts Hazel as the Madonna and consolidates her iconic status. Commissioned by the Irish Free State Government to design the new bank notes, Lavery used Hazel as his model for <em>Kathleen Ni Houlihan</em>. The original painting for this image is on view in this exhibition.</p> <p>Another highlight of the exhibition is <em>High Treason, Court of Criminal Appeal: the Trial of Roger Casement</em>, a large painting of one of the great miscarriages of justice from that period. Lavery paints the court room scene where Sir Roger Casement made his appeal against his sentencing for treason for attempting to bring arms from Germany to Ireland in support of the 1916 Rising. This work was an extremely brave undertaking for an artist whose livelihood was derived primarily from patronage by the British establishment.</p> <p>The exhibition is accompanied by a catalogue with new research and essay by Sinéad McCoole, author of <em>Hazel: A Life of Lady Lavery</em>.</p> The Golden Bough: Niamh McCann: Tiltshift 2010-04-30T16:23:00+00:00 2010-04-30T16:23:00+00:00 http://www.hughlane.ie/past/161-the-golden-bough-niamh-mccann-tiltshift General Enquiries info.hughlane@dublincity.ie <p>Curated by Michael Dempsey</p> <p>The collective memory and its bearing on the construction of visual historical narratives are at the fore of the Niamh Mc Cann’s project <em>Tiltshift</em>. If collective consciousness relies on the traces of memory, the designation of an image as significant becomes a political act, leading to the preservation of knowledge and the shaping of our cultural memory. It also creates a unitary fiction of what is valued and preserved.</p> <p>McCann’s splicing of iconic imagery from the cold war period for <em>Tiltshift</em>, calls into question how we construct our current understanding of both the social and the political. The historical tipping points of the Manhattan project - the design and development of the atomic bomb, man landing on the moon and the Nixon and Khrushev meeting, are familiar moments captured and stored in our collective psyche. Different messages, different time periods, different forms of communication are merged with the idea of disrupting hierarchies and opening new space for reflection.</p> <p>The presented exhibition space fragments motifs of the urban and the natural elements to create a hybrid cultural landscape where both the natural and the urbane co-exist.</p> <p>Curated by Michael Dempsey</p> <p>The collective memory and its bearing on the construction of visual historical narratives are at the fore of the Niamh Mc Cann’s project <em>Tiltshift</em>. If collective consciousness relies on the traces of memory, the designation of an image as significant becomes a political act, leading to the preservation of knowledge and the shaping of our cultural memory. It also creates a unitary fiction of what is valued and preserved.</p> <p>McCann’s splicing of iconic imagery from the cold war period for <em>Tiltshift</em>, calls into question how we construct our current understanding of both the social and the political. The historical tipping points of the Manhattan project - the design and development of the atomic bomb, man landing on the moon and the Nixon and Khrushev meeting, are familiar moments captured and stored in our collective psyche. Different messages, different time periods, different forms of communication are merged with the idea of disrupting hierarchies and opening new space for reflection.</p> <p>The presented exhibition space fragments motifs of the urban and the natural elements to create a hybrid cultural landscape where both the natural and the urbane co-exist.</p> The Golden Bough: Katie Holten 2010-01-28T16:23:00+00:00 2010-01-28T16:23:00+00:00 http://www.hughlane.ie/past/163-the-golden-bough-katie-holten General Enquiries info.hughlane@dublincity.ie <p>Katie Holten combines drawing, sculpture and text for her Golden Bough installation sited in gallery 8 at Dublin City Gallery The Hugh Lane. This new work continues her exploration and ongoing interest in organic processes and in the relationship between drawing and object.</p> <p>At the root of Katie Holten’s practice is a curiosity with life’s systems. Examining the meaning of ‘environment’ and the significance of place, her work is an ongoing investigation of the inextricable relationship between man and the natural world. She has previously collaborated with historians, geophysicists, musicians, botanists, ecologists, teachers, and architects, on projects as diverse as creating a temporary outdoor museum along a street in New York City or revealing the affects of climate change on weeds.</p> <p>Holten often works in black and white but for this project she will incorporate the ‘average’ colour of the universe as determined by astronomers at the John Hopkins University, Baltimore; - both the ‘correct’ and the ‘incorrect’ versions.</p> <p>In December 2009 she participated in Tipping Point at the Lamont-Doherty Earth Observatory in New York as she continues collaborating with Klaus Lackner (Geophysicist and Director of the Lenfest Center for Sustainable Energy, Earth Institute, at Columbia) - the results of which are also included in her installation for The Golden Bough.</p> <p>This exhibition is Katie Holten’s first solo show in Ireland since 2002.</p> <p>Katie Holten, born in Dublin in 1975, currently has a public art project in the Bronx, NY (2009). She has had solo museum exhibitions at The Bronx Museum of the Arts (2009), Nevada Museum of Art (2008), Villa Merkel, Esslingen (2008) and the Contemporary Art Museum St. Louis (2007). Holten represented Ireland at the 50th Venice Biennale in 2003. Her work has been included in many international group exhibitions including Subversive Spaces, Whitworth Gallery, Manchester (2009); Fri Porto, Den Frie Center of Contemporary Art, Copenhagen (2009); Compilation IV, Kunsthalle Düsseldorf (2009); Dome Colony, X-Initiative, New York (2009); Green Platform, Centro di Cultura Contemporanea Strozzina, Florence (2009); IMPLANT, UBS Art Gallery, New York (2008); Re-trait, Fondation d’entreprise Ricard, Paris (2007); Soft Sites, Institute of Contemporary Art, Philadelphia (2006); Eigenheim, Goettingen Kunstverein, Germany (2006).</p> <p>Katie Holten combines drawing, sculpture and text for her Golden Bough installation sited in gallery 8 at Dublin City Gallery The Hugh Lane. This new work continues her exploration and ongoing interest in organic processes and in the relationship between drawing and object.</p> <p>At the root of Katie Holten’s practice is a curiosity with life’s systems. Examining the meaning of ‘environment’ and the significance of place, her work is an ongoing investigation of the inextricable relationship between man and the natural world. She has previously collaborated with historians, geophysicists, musicians, botanists, ecologists, teachers, and architects, on projects as diverse as creating a temporary outdoor museum along a street in New York City or revealing the affects of climate change on weeds.</p> <p>Holten often works in black and white but for this project she will incorporate the ‘average’ colour of the universe as determined by astronomers at the John Hopkins University, Baltimore; - both the ‘correct’ and the ‘incorrect’ versions.</p> <p>In December 2009 she participated in Tipping Point at the Lamont-Doherty Earth Observatory in New York as she continues collaborating with Klaus Lackner (Geophysicist and Director of the Lenfest Center for Sustainable Energy, Earth Institute, at Columbia) - the results of which are also included in her installation for The Golden Bough.</p> <p>This exhibition is Katie Holten’s first solo show in Ireland since 2002.</p> <p>Katie Holten, born in Dublin in 1975, currently has a public art project in the Bronx, NY (2009). She has had solo museum exhibitions at The Bronx Museum of the Arts (2009), Nevada Museum of Art (2008), Villa Merkel, Esslingen (2008) and the Contemporary Art Museum St. Louis (2007). Holten represented Ireland at the 50th Venice Biennale in 2003. Her work has been included in many international group exhibitions including Subversive Spaces, Whitworth Gallery, Manchester (2009); Fri Porto, Den Frie Center of Contemporary Art, Copenhagen (2009); Compilation IV, Kunsthalle Düsseldorf (2009); Dome Colony, X-Initiative, New York (2009); Green Platform, Centro di Cultura Contemporanea Strozzina, Florence (2009); IMPLANT, UBS Art Gallery, New York (2008); Re-trait, Fondation d’entreprise Ricard, Paris (2007); Soft Sites, Institute of Contemporary Art, Philadelphia (2006); Eigenheim, Goettingen Kunstverein, Germany (2006).</p> The Golden Bough: Seán Shanahan: Oasery, Tracery 2011-05-19T00:00:00+00:00 2011-05-19T00:00:00+00:00 http://www.hughlane.ie/past/342-the-golden-bough-sean-shanahan Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Seán Shanahan's installation for The Golden Bough is neither a painting nor a sculpture, but an open space: an interludium inviting reflection upon the social function and authority of the museum and the canons it values. Painting and drawing, placing and framing are the nuts and bolts of his response to gallery 8.</p> <p>Shanahan’s work is concerned with foreground and background, light and colour and the power of colour quantities to morph the apprehension of space. The installation creates an unbounded wall-painting that is both parasite in and protagonist to its cultural and architectural setting. Each gains meaning according to the other and this reciprocity mirrors our potential dialogue with the artwork. An understandable aesthetic pleasure is thus evoked but the de-materialised nature of the work also interrogates the exhibiting function of the institution and its values.</p> <p>Shanahan has exhibited widely throughout Europe since the early 1980's, and has had numerous solo shows, especially in Italy, the Netherlands, Germany and Ireland. In recent years these have included major solo exhibitions at the Hugh Lane Municipal Gallery, Dublin, the Fondazione Scarampi, Italy, and the Sleeper Gallery Edinburgh. In 2007 he exhibited at the Kunst-Station, Sankt Peter Köln, curated by Friedhelm Mennekes and in late 2009 he created a major installation at Newman house in Dublin. In 2011 he exhibited <em>Placery, Tracery at </em>Dun Umeni / House of Art in Budweis, Czech Republic.</p> <p>Seán Shanahan's installation for The Golden Bough is neither a painting nor a sculpture, but an open space: an interludium inviting reflection upon the social function and authority of the museum and the canons it values. Painting and drawing, placing and framing are the nuts and bolts of his response to gallery 8.</p> <p>Shanahan’s work is concerned with foreground and background, light and colour and the power of colour quantities to morph the apprehension of space. The installation creates an unbounded wall-painting that is both parasite in and protagonist to its cultural and architectural setting. Each gains meaning according to the other and this reciprocity mirrors our potential dialogue with the artwork. An understandable aesthetic pleasure is thus evoked but the de-materialised nature of the work also interrogates the exhibiting function of the institution and its values.</p> <p>Shanahan has exhibited widely throughout Europe since the early 1980's, and has had numerous solo shows, especially in Italy, the Netherlands, Germany and Ireland. In recent years these have included major solo exhibitions at the Hugh Lane Municipal Gallery, Dublin, the Fondazione Scarampi, Italy, and the Sleeper Gallery Edinburgh. In 2007 he exhibited at the Kunst-Station, Sankt Peter Köln, curated by Friedhelm Mennekes and in late 2009 he created a major installation at Newman house in Dublin. In 2011 he exhibited <em>Placery, Tracery at </em>Dun Umeni / House of Art in Budweis, Czech Republic.</p> Willie Doherty: DISTURBANCE 2011-09-05T00:00:00+00:00 2011-09-05T00:00:00+00:00 http://www.hughlane.ie/past/403-autumn-programme Logan Sisley logan.sisley@dublincity.ie <p class="Body1"><span style="color: #000000;">Willie Doherty is renowned for his video installations and photographs. DISTURBANCE at Dublin City Gallery The Hugh Lane surveys the artist’s works from the early 80s to today, including his most recent video, <em>Ancient Ground</em>, shot earlier this year on the peat bogs of County Donegal.</span></p> <p class="Body1"><span style="color: #000000;"><em>Ancient Ground</em> focuses upon barely visible traces of human trauma within a rural terrain. Evidence of undefined violence is captured with forensic attention to detail; implying that whatever unspoken occurrences took place in the past will not disappear and cannot be forgotten. The artist's concerns with territory, surveillance and the part land plays in cultural hegemony can be traced back to his photographs of his native Derry and its environs from the 1980s. Exploring an understanding of place through terrain, these iconic works overlaid with text, play out the dichotomies of the familiar appropriated by conflicting ideologies at war.</span></p> <p class="Body1"><span style="color: #000000;">Doherty’s work is rooted in the politics and topography of his native Derry, the walls of Derry and the river Foyle with its east bank and its west bank and the proximity of its border with the Republic of Ireland is, as he says, “a perfect theatre of war”. His practice however, transcends the specificities of any particular context as this exhibition reveals. The current work shifts between the urban and the rural. What the terrain has witnessed is patiently tracked down. His discoveries, the scars of human activity on the land are yielded up and captured on camera. Doherty unflinchingly confronts the underbelly of society, making what is concealed more visible. The insistent repetition of text and the constraints of imagery within the circularity of language emphasises that sense of entrapment; who is the protagonist, who is the victim? Calling himself an old fashioned landscape artist, Willie Doherty holds a unique position in contemporary art. His engagement with the land is very particular - shifting ground upending the surety of position. His surveillance of territory looks for evidence of association with social and political concerns and is carried out by walking it or watching it through the windscreen of a car or bus window. What he uncovers appears in series of images which fully acknowledge the ambiguities, complexities and paradoxes that brought them into being. </span></p> <p class="Body1"><span style="color: #000000;">We are delighted to present Willie Doherty’s first exhibition at Dublin City Gallery The Hugh Lane in collaboration with <a href="http://www.dublincontemporary.ie/" target="_blank">Dublin Contemporary</a>. <br /></span><span style="color: #000000;"><br />Curated by Barbara Dawson</span></p> <p class="Body1"><span style="color: #000000;">A fully illustrated catalogue with an interview with the artist and Barbara Dawson and text by Colin Graham accompanies the exhibition.<br /><br />For details of education resources for teachers and students related to this exhibition please go to <a href="art-education-resources">http://www.hughlane.ie/art-education-resources</a> </span></p> <p class="Body1"><span style="color: #000000;">Willie Doherty is renowned for his video installations and photographs. DISTURBANCE at Dublin City Gallery The Hugh Lane surveys the artist’s works from the early 80s to today, including his most recent video, <em>Ancient Ground</em>, shot earlier this year on the peat bogs of County Donegal.</span></p> <p class="Body1"><span style="color: #000000;"><em>Ancient Ground</em> focuses upon barely visible traces of human trauma within a rural terrain. Evidence of undefined violence is captured with forensic attention to detail; implying that whatever unspoken occurrences took place in the past will not disappear and cannot be forgotten. The artist's concerns with territory, surveillance and the part land plays in cultural hegemony can be traced back to his photographs of his native Derry and its environs from the 1980s. Exploring an understanding of place through terrain, these iconic works overlaid with text, play out the dichotomies of the familiar appropriated by conflicting ideologies at war.</span></p> <p class="Body1"><span style="color: #000000;">Doherty’s work is rooted in the politics and topography of his native Derry, the walls of Derry and the river Foyle with its east bank and its west bank and the proximity of its border with the Republic of Ireland is, as he says, “a perfect theatre of war”. His practice however, transcends the specificities of any particular context as this exhibition reveals. The current work shifts between the urban and the rural. What the terrain has witnessed is patiently tracked down. His discoveries, the scars of human activity on the land are yielded up and captured on camera. Doherty unflinchingly confronts the underbelly of society, making what is concealed more visible. The insistent repetition of text and the constraints of imagery within the circularity of language emphasises that sense of entrapment; who is the protagonist, who is the victim? Calling himself an old fashioned landscape artist, Willie Doherty holds a unique position in contemporary art. His engagement with the land is very particular - shifting ground upending the surety of position. His surveillance of territory looks for evidence of association with social and political concerns and is carried out by walking it or watching it through the windscreen of a car or bus window. What he uncovers appears in series of images which fully acknowledge the ambiguities, complexities and paradoxes that brought them into being. </span></p> <p class="Body1"><span style="color: #000000;">We are delighted to present Willie Doherty’s first exhibition at Dublin City Gallery The Hugh Lane in collaboration with <a href="http://www.dublincontemporary.ie/" target="_blank">Dublin Contemporary</a>. <br /></span><span style="color: #000000;"><br />Curated by Barbara Dawson</span></p> <p class="Body1"><span style="color: #000000;">A fully illustrated catalogue with an interview with the artist and Barbara Dawson and text by Colin Graham accompanies the exhibition.<br /><br />For details of education resources for teachers and students related to this exhibition please go to <a href="art-education-resources">http://www.hughlane.ie/art-education-resources</a> </span></p> On the Nature of Things by Katie Holten 2011-09-05T00:00:00+00:00 2011-09-05T00:00:00+00:00 http://www.hughlane.ie/past/479-on-the-nature-of-things-by-katie-holten Logan Sisley logan.sisley@dublincity.ie <p><em>On the Nature of Things </em>is a public artwork for Dublin created by Katie Holten as part of <a href="http://www.dublincontemporary.com/" target="_blank">Dublin Contemporary 2011</a>. Texts are written on the streets of the city centre with hand-painted ceramic tiles. The source for the text is a found copy of <em>On The Nature of Things</em>, by the Epicurean poet Lucretius. Although written c. 50 B.C., the poem persuasively lays out a strikingly modern understanding of the world. Every page reflects a core scientific vision - a vision of atoms randomly moving in an infinite universe – imbued with a poet's sense of wonder. He thought we should live, not in fear of gods, but in the pursuit of pleasure.<br /><br />Katie Holten has installed <em>Primal Forms of Stuff </em>on the steps of The Hugh Lane. <a href="http://maps.google.com/maps/ms?msid=212868726704835290575.0004ac0e6f58b384f9247&msa=0" target="_blank">Click here for a map of other locations.</a></p> <p><em>On the Nature of Things </em>is a public artwork for Dublin created by Katie Holten as part of <a href="http://www.dublincontemporary.com/" target="_blank">Dublin Contemporary 2011</a>. Texts are written on the streets of the city centre with hand-painted ceramic tiles. The source for the text is a found copy of <em>On The Nature of Things</em>, by the Epicurean poet Lucretius. Although written c. 50 B.C., the poem persuasively lays out a strikingly modern understanding of the world. Every page reflects a core scientific vision - a vision of atoms randomly moving in an infinite universe – imbued with a poet's sense of wonder. He thought we should live, not in fear of gods, but in the pursuit of pleasure.<br /><br />Katie Holten has installed <em>Primal Forms of Stuff </em>on the steps of The Hugh Lane. <a href="http://maps.google.com/maps/ms?msid=212868726704835290575.0004ac0e6f58b384f9247&msa=0" target="_blank">Click here for a map of other locations.</a></p> Civil Rights etc. Rita Donagh and Richard Hamilton 2011-09-05T00:00:00+00:00 2011-09-05T00:00:00+00:00 http://www.hughlane.ie/past/413-civil-rights-etc Michael Dempsey mdempsey.hughlane@dublincity.ie <p>Dublin City Gallery The Hugh Lane is pleased to present this major retrospective exhibition by two of Britain’s most respected artists, Richard Hamilton and Rita Donagh. The exhibition includes works from the 1960s to this decade that primarily relate to Ireland, but also to seminal moments of social change in recent history. The two artists share a viewpoint of ‘political or moral motivation’ and a concern for human rights and justice, while also using images directly taken from popular culture and the mass media. The Hugh Lane has worked closely with the artists on this exhibition which explores both their shared concerns and divergent practices.</p> <p>Richard Hamilton was a key member of the Independent Group and one of the leading artists during the emergence of Pop Art in Britain in the 1950s. Born in 1922, he studied at the Royal Academy Schools before and after the war and subsequently in the Slade School of Art. Hamilton’s work, addressing themes of consumerism, contemporary culture, politics and war, continues to be hugely influential and respected internationally. <em>Civil Rights etc.</em> concentrates on his iconic political works, including Kent State and Swingeing London, as well as the striking images from Northern Ireland during the Troubles. The exhibition also features the installation <em>Treatment Room</em>, a response to Margaret Thatcher 's reign as Prime Minister in Britain and his more recent protest pictures created in the context of the war in Iraq in the early 90s, as well as more recently the 00s and the current situation in the Middle East.</p> <p>Rita Donagh was born in 1939 and studied Fine Art in the University of Newcastle (where Hamilton taught). In 1962 she became a tutor there before teaching in the School of Fine Art at Reading University, the Slade School of Art and Goldsmiths in London. Since the 1970s her work has focused on the political unrest in Northern Ireland and her concern for the future of Ireland. Donagh frequently uses media imagery and maps in her work; <em>Civil Rights etc.</em> includes both her explorations of the territories of Ireland and of the British Midlands, where she grew up. Her interest in the nature of abstract and representational imagery, inherent in map-making, is also evident in the self-portraits included in this exhibition.</p> <p>Curated by Barbara Dawson.<br /><br />A fully illustrated catalogue with essays by Michael Bracewell, Declan McGonagle and Barbara Dawson accompanies the exhibition.<br /><br />For details of education resources for teachers and students related to this exhibition please go <a href="art-education-resources">http://www.hughlane.ie/art-education-resources</a></p> <p>Dublin City Gallery The Hugh Lane is pleased to present this major retrospective exhibition by two of Britain’s most respected artists, Richard Hamilton and Rita Donagh. The exhibition includes works from the 1960s to this decade that primarily relate to Ireland, but also to seminal moments of social change in recent history. The two artists share a viewpoint of ‘political or moral motivation’ and a concern for human rights and justice, while also using images directly taken from popular culture and the mass media. The Hugh Lane has worked closely with the artists on this exhibition which explores both their shared concerns and divergent practices.</p> <p>Richard Hamilton was a key member of the Independent Group and one of the leading artists during the emergence of Pop Art in Britain in the 1950s. Born in 1922, he studied at the Royal Academy Schools before and after the war and subsequently in the Slade School of Art. Hamilton’s work, addressing themes of consumerism, contemporary culture, politics and war, continues to be hugely influential and respected internationally. <em>Civil Rights etc.</em> concentrates on his iconic political works, including Kent State and Swingeing London, as well as the striking images from Northern Ireland during the Troubles. The exhibition also features the installation <em>Treatment Room</em>, a response to Margaret Thatcher 's reign as Prime Minister in Britain and his more recent protest pictures created in the context of the war in Iraq in the early 90s, as well as more recently the 00s and the current situation in the Middle East.</p> <p>Rita Donagh was born in 1939 and studied Fine Art in the University of Newcastle (where Hamilton taught). In 1962 she became a tutor there before teaching in the School of Fine Art at Reading University, the Slade School of Art and Goldsmiths in London. Since the 1970s her work has focused on the political unrest in Northern Ireland and her concern for the future of Ireland. Donagh frequently uses media imagery and maps in her work; <em>Civil Rights etc.</em> includes both her explorations of the territories of Ireland and of the British Midlands, where she grew up. Her interest in the nature of abstract and representational imagery, inherent in map-making, is also evident in the self-portraits included in this exhibition.</p> <p>Curated by Barbara Dawson.<br /><br />A fully illustrated catalogue with essays by Michael Bracewell, Declan McGonagle and Barbara Dawson accompanies the exhibition.<br /><br />For details of education resources for teachers and students related to this exhibition please go <a href="art-education-resources">http://www.hughlane.ie/art-education-resources</a></p> Lawrence Carroll: In the world I live 2012-11-09T00:00:00+00:00 2012-11-09T00:00:00+00:00 http://www.hughlane.ie/past/721-lawrence-carroll-in-the-world-i-live Michael Dempsey mdempsey.hughlane@dublincity.ie <p><em>In the world I live </em>showcases an installation of works by internationally acclaimed Irish artist Lawrence Carroll.  Carroll's works reflect the artist's humanity and despite their large scale they exude a particular intimacy. Part of this is due to his working process and his attitude to materials. His works use materials already employed for some other purpose and the signs of this use are still visible. His working process transforms them into highly personal works, while losing nothing of this previous life.<br />The exhibition will occupy five interlinking spaces allowing the viewer to wander back and forth between works from different periods from 1984 to 2012. Carroll often refers to himself as a storyteller when speaking or writing about his work.  Creating this installation allows him to play with this notion of narrative, connecting abstract language with the world of representation and the human condition.<br /><em>Lawrence Carroll: In the world I live</em> will be documented by an illustrated publication. The exhibition will travel to <a href="http://www.casalsolleric.com" target="_blank" title="Casal Solleric">Casal Solleric</a>, Palma de Mallorca, in 2013, supported by <a href="http://www.cultureireland.ie" target="_blank" title="Culture Ireland">Culture Ireland</a>.<br /><br />Review on <a href="http://www.artforum.com/archive/id=38485" target="_blank" title="Artforum">artforum.com</a>.<br /><br /><img src="images/exhibition_images/2012/ci_eu_logo_web.jpg" border="0" /></p> <p><em>In the world I live </em>showcases an installation of works by internationally acclaimed Irish artist Lawrence Carroll.  Carroll's works reflect the artist's humanity and despite their large scale they exude a particular intimacy. Part of this is due to his working process and his attitude to materials. His works use materials already employed for some other purpose and the signs of this use are still visible. His working process transforms them into highly personal works, while losing nothing of this previous life.<br />The exhibition will occupy five interlinking spaces allowing the viewer to wander back and forth between works from different periods from 1984 to 2012. Carroll often refers to himself as a storyteller when speaking or writing about his work.  Creating this installation allows him to play with this notion of narrative, connecting abstract language with the world of representation and the human condition.<br /><em>Lawrence Carroll: In the world I live</em> will be documented by an illustrated publication. The exhibition will travel to <a href="http://www.casalsolleric.com" target="_blank" title="Casal Solleric">Casal Solleric</a>, Palma de Mallorca, in 2013, supported by <a href="http://www.cultureireland.ie" target="_blank" title="Culture Ireland">Culture Ireland</a>.<br /><br />Review on <a href="http://www.artforum.com/archive/id=38485" target="_blank" title="Artforum">artforum.com</a>.<br /><br /><img src="images/exhibition_images/2012/ci_eu_logo_web.jpg" border="0" /></p> Into the Light: The Arts Council – 60 Years of Supporting the Arts 2012-11-28T00:00:00+00:00 2012-11-28T00:00:00+00:00 http://www.hughlane.ie/past/722-into-the-light Michael Dempsey mdempsey.hughlane@dublincity.ie <p>To celebrate its 60th anniversary, The Arts Council is working in partnership with four prominent Irish galleries: Dublin City Gallery The Hugh Lane, The Model, Crawford Art Gallery and Limerick City Gallery of Art to produce a series of exhibitions as a major national showcase of works by over 100 artists from its collection.<br />The exhibition in The Hugh Lane is curated by Michael Dempsey and will present works from both the Arts Council Collection and The Hugh Lane’s own collection. It is entitled <em>Seeing clouds for the first time</em>. Invited artist Karl Burke will also feature with a new commission by the Arts Council for the installation. <em>Seeing clouds for the first time </em>will address floor/wall relationships and institutional framing as extensions of the abstract picture plane. The aim is to create dialogue between the experience, the reception, and the production of art – an indication of the continuity between the past and the present, between then and now.</p> <p>To celebrate its 60th anniversary, The Arts Council is working in partnership with four prominent Irish galleries: Dublin City Gallery The Hugh Lane, The Model, Crawford Art Gallery and Limerick City Gallery of Art to produce a series of exhibitions as a major national showcase of works by over 100 artists from its collection.<br />The exhibition in The Hugh Lane is curated by Michael Dempsey and will present works from both the Arts Council Collection and The Hugh Lane’s own collection. It is entitled <em>Seeing clouds for the first time</em>. Invited artist Karl Burke will also feature with a new commission by the Arts Council for the installation. <em>Seeing clouds for the first time </em>will address floor/wall relationships and institutional framing as extensions of the abstract picture plane. The aim is to create dialogue between the experience, the reception, and the production of art – an indication of the continuity between the past and the present, between then and now.</p> The Golden Bough: Tim Robinson: The Decision 2011-09-05T10:00:00+00:00 2011-09-05T10:00:00+00:00 http://www.hughlane.ie/past/414-the-golden-bough-tim-robinson Michael Dempsey mdempsey.hughlane@dublincity.ie <p><span style="color: #000000;">Tim Robinson is both a writer and artist based in Roundstone, County Galway. He left London in 1972, for the Aran Islands where he began to research and make maps of the islands and later of the Burren and Connemara. These maps comprise drawing and collage and are informed by the historic/folkloric associations of the topography as well as the geographical positioning. Hand drawn, the attenuated marks recall his experiences of walking this terrain and acknowledge the human imprint on the landscape as he encountered it.</span></p> <p><span style="color: #000000;">As well as the maps, this exhibition, <em>The Decision</em> includes some earlier artworks that in retrospect Robinson recognises as prefiguring this renowned mapping project.<em></em></span></p> <p><span style="color: #000000;">In these early works reflecting upon the many tenuous and indefinite forces that converge to produce our fates, Tim Robinson creates an iridescent installation out of the threads of his life’s journey. Robinson suggests that, even by moving from city to island, from centre to periphery, from the visual to the written, one cannot transcend one’s habitual and limited creative means – a fact that calls in question the very concept of ‘decision’.</span></p> <p><span style="color: #000000;">Tim Robinson studied mathematics at Cambridge and taught the subject for three years in Istanbul. He then began a career as an artist with an exhibition at the Galerie Fuchs, Vienna, and later showed at Signals Gallery and the Lisson Gallery in London. His writings include a two-volume study, <em>Stones of Aran</em>, and a trilogy on Connemara of which the final volume, <em>Connemara: A Little Gaelic Kingdom</em>, has just been published by Penguin Ireland. He is a member of Aosdána and the RIA, has an honorary degree from NUI, and is currently the Parnell Visiting Fellow at Magdalene College, Cambridge. <br /><br /><a href="http://www.rte.ie/podcasts/2011/pc/pod-v-01091101h17m27stjms-pid0-4647696.mp3" target="_blank">Listen here to an interview with Tim Robinson on The John Murray show on RTE Radio 1.</a></span></p> <p><span style="color: #000000;">Tim Robinson is both a writer and artist based in Roundstone, County Galway. He left London in 1972, for the Aran Islands where he began to research and make maps of the islands and later of the Burren and Connemara. These maps comprise drawing and collage and are informed by the historic/folkloric associations of the topography as well as the geographical positioning. Hand drawn, the attenuated marks recall his experiences of walking this terrain and acknowledge the human imprint on the landscape as he encountered it.</span></p> <p><span style="color: #000000;">As well as the maps, this exhibition, <em>The Decision</em> includes some earlier artworks that in retrospect Robinson recognises as prefiguring this renowned mapping project.<em></em></span></p> <p><span style="color: #000000;">In these early works reflecting upon the many tenuous and indefinite forces that converge to produce our fates, Tim Robinson creates an iridescent installation out of the threads of his life’s journey. Robinson suggests that, even by moving from city to island, from centre to periphery, from the visual to the written, one cannot transcend one’s habitual and limited creative means – a fact that calls in question the very concept of ‘decision’.</span></p> <p><span style="color: #000000;">Tim Robinson studied mathematics at Cambridge and taught the subject for three years in Istanbul. He then began a career as an artist with an exhibition at the Galerie Fuchs, Vienna, and later showed at Signals Gallery and the Lisson Gallery in London. His writings include a two-volume study, <em>Stones of Aran</em>, and a trilogy on Connemara of which the final volume, <em>Connemara: A Little Gaelic Kingdom</em>, has just been published by Penguin Ireland. He is a member of Aosdána and the RIA, has an honorary degree from NUI, and is currently the Parnell Visiting Fellow at Magdalene College, Cambridge. <br /><br /><a href="http://www.rte.ie/podcasts/2011/pc/pod-v-01091101h17m27stjms-pid0-4647696.mp3" target="_blank">Listen here to an interview with Tim Robinson on The John Murray show on RTE Radio 1.</a></span></p> Sleepwalkers: Walker and Walker – Barry Flanagan 2012-02-22T00:00:00+00:00 2012-02-22T00:00:00+00:00 http://www.hughlane.ie/past/530-walker-and-walker-barry-flanagan Michael Dempsey mdempsey.hughlane@dublincity.ie <p><strong>Sleepwalkers: Possibilities - Contingencies</strong></p> <p><strong>Curated ≈ Michael Dempsey</strong></p> <p><strong>Walker and Walker - Barry Flanagan</strong></p> <p><em>Sleepwalkers: Possibilities - Contingencies</em> is an investigational programming format based on ‘exhibition making’ and a ‘project in progress’ where one’s non-specific expectations of museums can be unfolded.</p> <p>Following the metaphors explored in the <em>Golden Bough </em>exhibition programme, galleries eight and ten are activated as spaces of reflection and debate. The programme will reflect upon whether our collective memory is mirrored by the museum or does the museum construct a visual narrative of our identity that we internalise? This is of immediate importance in the contemporary debate of re-imagining communities and whether a singular stance is plausible anymore in the disrupting of established hierarchies.</p> <p><em>Sleepwalkers </em>is an attempt to develop a dialectic process between artist and audience in ‘exhibition making’ as it asserts itself through the interaction of chance and reciprocity. The moot points explored are the complexities of relationships between individuals and institutions in an exchange which transcends traditional inside/outside or right/wrong binaries.</p> <p><em>The Owl of Minerva</em> is the title for Walker and Walker’s installation in gallery ten and in it they will be showing their film <em>Mount Analogue Revisited</em>, a reworking of Rene Daumal’s book <em>Mount Analogue. </em>As the first exhibition in the <em>Sleepwalkers</em> programme, Walker and Walker have produced a body of new work which addresses both the concerns of the film, the two adjoining spaces, and a response to the work of Barry Flanagan, <em>SILÂNS</em>, as seen concurrently in gallery eight.</p> <p><strong>Sleepwalkers: Possibilities - Contingencies</strong></p> <p><strong>Curated ≈ Michael Dempsey</strong></p> <p><strong>Walker and Walker - Barry Flanagan</strong></p> <p><em>Sleepwalkers: Possibilities - Contingencies</em> is an investigational programming format based on ‘exhibition making’ and a ‘project in progress’ where one’s non-specific expectations of museums can be unfolded.</p> <p>Following the metaphors explored in the <em>Golden Bough </em>exhibition programme, galleries eight and ten are activated as spaces of reflection and debate. The programme will reflect upon whether our collective memory is mirrored by the museum or does the museum construct a visual narrative of our identity that we internalise? This is of immediate importance in the contemporary debate of re-imagining communities and whether a singular stance is plausible anymore in the disrupting of established hierarchies.</p> <p><em>Sleepwalkers </em>is an attempt to develop a dialectic process between artist and audience in ‘exhibition making’ as it asserts itself through the interaction of chance and reciprocity. The moot points explored are the complexities of relationships between individuals and institutions in an exchange which transcends traditional inside/outside or right/wrong binaries.</p> <p><em>The Owl of Minerva</em> is the title for Walker and Walker’s installation in gallery ten and in it they will be showing their film <em>Mount Analogue Revisited</em>, a reworking of Rene Daumal’s book <em>Mount Analogue. </em>As the first exhibition in the <em>Sleepwalkers</em> programme, Walker and Walker have produced a body of new work which addresses both the concerns of the film, the two adjoining spaces, and a response to the work of Barry Flanagan, <em>SILÂNS</em>, as seen concurrently in gallery eight.</p> Barry Flanagan: Silâns 2012-02-22T00:00:00+00:00 2012-02-22T00:00:00+00:00 http://www.hughlane.ie/past/531-sleepwalkers-bf Michael Dempsey mdempsey.hughlane@dublincity.ie <p>On 22 February, the Gallery will launch the facsimile edition of <em>Silâns </em>Magazine, the influential publication produced and edited between 1964 and 1965 by Barry Flanagan and his fellow students Alistair Jackson and Rudy Leenders in St. Martin’s School of Art. The <em>Silâns</em> editions – the title is taken from the phonetic spelling of silence in French – are a valuable insight into a period of significant artistic creativity, experimentation and enquiry in London. <br />In a letter to Anthony Caro during this period, Flanagan writes: “The Friday evening classes were good meat for my imagination. The classes prompted the writing of poetry, a play, film scripts, songs, the purchase of cine equipment and work on a means to translate movement and atmosphere into music. I might claim to be a sculptor and do everything else but sculpture. This is my dilemma.” <br />In the first issue, distinctions in the unseen are defined and characterised. An epigraph from Joyce’s <em>Ulysses </em>“everything speaks in its own way” is followed by “A prelude to a sculpture that has never been seen” and “A prelude to a sculpture that has never been seen before”.<br />In 2006, The Hugh Lane organised an outdoor exhibition, <em>Barry Flanagan on O’Connell Street</em>, comprising ten of Flanagan’s famous hare sculptures placed along Dublin’s main thoroughfare. In 1996 the artist donated <em>Horse Mirrored: Sheep Boys: Cow Girls </em>to The Hugh Lane. A small exhibition of Barry Flanagan’s work on<br />paper accompanies the launch of <em>Silâns</em>.</p> <p>On 22 February, the Gallery will launch the facsimile edition of <em>Silâns </em>Magazine, the influential publication produced and edited between 1964 and 1965 by Barry Flanagan and his fellow students Alistair Jackson and Rudy Leenders in St. Martin’s School of Art. The <em>Silâns</em> editions – the title is taken from the phonetic spelling of silence in French – are a valuable insight into a period of significant artistic creativity, experimentation and enquiry in London. <br />In a letter to Anthony Caro during this period, Flanagan writes: “The Friday evening classes were good meat for my imagination. The classes prompted the writing of poetry, a play, film scripts, songs, the purchase of cine equipment and work on a means to translate movement and atmosphere into music. I might claim to be a sculptor and do everything else but sculpture. This is my dilemma.” <br />In the first issue, distinctions in the unseen are defined and characterised. An epigraph from Joyce’s <em>Ulysses </em>“everything speaks in its own way” is followed by “A prelude to a sculpture that has never been seen” and “A prelude to a sculpture that has never been seen before”.<br />In 2006, The Hugh Lane organised an outdoor exhibition, <em>Barry Flanagan on O’Connell Street</em>, comprising ten of Flanagan’s famous hare sculptures placed along Dublin’s main thoroughfare. In 1996 the artist donated <em>Horse Mirrored: Sheep Boys: Cow Girls </em>to The Hugh Lane. A small exhibition of Barry Flanagan’s work on<br />paper accompanies the launch of <em>Silâns</em>.</p>