Garrett Phelan: Trusted Servant on YouTube as part of the exhibition
.all hawaii eNtrées / luNar reGGae at IMMA

As part of the group exhibition, .all hawaii eNtrées / luNar reGGae, Irish artist Garrett Phelan has been invited by the curators to officially close the exhibition with his project Trusted Servant.  .all hawaii eNtrées / luNar reGGae, curated by French artist Philippe Parreno and Rachael Thomas, Head of Exhibitions at IMMA, was shown at the Irish Museum of Modern Art from 29 November to 18 February 2007. More than 20 artists, writers and thinkers were invited to participate in this project that focused on the notion of ‘process’. Parreno’s approach is to go beyond the physical space of the Museum, as a part of this process on the gallery closing date of the exhibition, 18 February 2007, Phelan uploaded the video performance work Trusted Servant, 2007, onto YouTube – a popular free video sharing website which lets users upload, view, and share video clips. 

To view Trusted Servant please go to http://www.youtube.com/trustedservant   

Primarily known for radio, video, drawing and alternative projects, in this instance Phelan becomes the gatekeeper of .all hawaii eNtrées / luNar reGGae. Trusted Servant documents an automated and manic performance of Phelan repeating pre-recorded broadcasts from his MP3 player, which have been compiled and edited from media sources – shortwave and longwave radio, cable link, newspaper articles and webcasts. His working standpoint, calls into question the mainstream methods of endless ingestion of information and communication that influence the formations of our opinions in this ‘don’t stop age’. The removal of Trusted Servant from YouTube at Phelan’s conceptual discretion will mark the official end of the exhibition.

Trusted Servant also functions as part of Phelan’s current exploration into the Formation of Opinion (2003 – ongoing). This work is the final part of a first phase entitled Reception of information, which includes the three drawing projects NOW: HERE, 2003, LUNG LOVE, 2004, GOD ONLY KNOWS, 2005, and a month long artwork entitled Black Brain Radio, 2006, an independent FM/online radio station. Parreno’s .all hawaii eNtrées / luNar reGGae catalogue text After Affects proposes a similar style of communication as technology, as an amalgamation of hidden, coded, obscure, specialized languages, that inscribe all forms of transmission. 

Copyright Garrett Phelan  http://www.garrettphelan.com/foo.htm

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

23 March 2007

The first solo museum exhibition in Europe of the work of Shahzia Sikander opens to the public at the Irish Museum of Modern Art on Wednesday 28 March 2007.  Comprising some 25 works the exhibition provides a brief overview of Sikander’s career and focuses on her most recent practice.  The exhibition includes two of her animations alongside new large-scale paintings.  While studying at the National College of Arts in Lahore, Pakistan, Sikander specialised in Indo-Persian miniature painting at a time when there was little interest in this traditional practice. She has described her choice as being regarded with suspicion by her student colleagues, the practice of miniatures seen as "excessively kitsch” and solely for tourist consumption.  Sikander was determined to create a dialogue with tradition, developing an original artistic practice that includes painting, drawing, animation and complex installations.  Now based in New York her practice also incorporates the aesthetic debates of popular iconography and contemporary cultural theory. 

Sikander’s work confronts and interrogates the perceptual distances between the cultures designated as ‘East’ and ‘West’, an area of poignancy and difficulty in the current political climate.  The work of Sikander is particularly relevant in this context, but unquestionably transcends it with an integration and exploration of multiple viewpoints and contexts.  Emerging from a post-colonial and post-partition background Sikander is also interested in exploring both sides of the Hindu and Muslim “border”. 

Sikander has embraced the possibilities of digital technology in her work using it to literally ‘animate’ her paintings.  Two examples of these animations are included in this exhibition SpiNN, 2003 – 2006, (a pun on the news media channel CNN) and Pursuit Curve, 2004.  Sikander has also combined Photoshop technology with screen printing to create large-scale paintings inspired by the miniature tradition.  The second of the series The Illustrated Page, 2007, is shown for the first time in Dublin.  

Shahzia Sikander was born in 1969 in Lahore, Pakistan, and currently lives in New York.  She received an MFA from the Rhode Island School of Art and Design in 1995. In 1997, her work was selected for the Whitney Biennial, coinciding with a simultaneous exhibition of her work in the Drawing Centre in New York.  In 2003, she was invited to participate in the Istanbul Biennial, followed by the inaugural 2004 Seville Bienal and the Venice Biennale in 2005.  Her work featured in the 2005 group show Translation in the Palais de Tokyo, and most recently held Miniphilia, a solo show in the Valentina Bonomo Gallery in Rome late last year. Sikander has received many awards for her work – in 2006 she was a recipient of the prestigious MacArthur Foundation fellowship. 

This exhibition is curated by Seán Kissane, Curator: Exhibitions, IMMA.

A publication, published by IMMA in association with Charta, accompanies the exhibition with texts by Seán Kissane and Professor Homi Bhabha, Professor of English and American Literature, Harvard University.

Gallery Talk
On Tuesday 27 March at 5.00pm, Shahzia Sikander will present a talk on her exhibition in the East Ground Floor Gallery. Admission is free but booking is essential on tel: + 353 1 612 9948 or email: [email protected]

The exhibition continues until 7 May. Admission is free.

Opening hours:
Tuesday to Saturday 10.00am-5.30pm
except Wednesday 10.30am-5.30pm
Sundays and Bank Holidays 12 noon- 5.30pm
Mondays and Friday 6 April Closed

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

21 March 2007

An exhibition of work by the distinguished Irish artist Robert Ballagh opens to the public at the Heywood Community School, Ballinakill, Co Laois, on Monday 5 March 2007.  Comprising seven works the exhibition focuses on works produced by Ballagh during the 1970s.  This exhibition is the fourth collaboration between IMMA’s National Programme and the Heywood Community School and coincides with the school’s ninth Annual Arts Week. 

Robert Ballagh is a self taught artist whose work combines elements of pop culture, commercial art and technology.  He was a leading figure in the introduction of Pop-Art to Ireland in the late 1960s.  The art collector Gordon Lambert commissioned Ballagh to make a number of portraits some of which are included in this exhibition.  Portrait of Gordon Lambert, 1972, uses both elements of figuration and abstraction – the figure of Lambert is shown holding an exact replica of a painting by the German Abstract artist Josef Albers that he had been instrumental in purchasing for the Dublin City Gallery The Hugh Lane.  Ballagh took this opportunity to introduce a new freedom into this genre.  He drew on such advertising techniques as the unframed cut-out and a screenprinted photograph as a basis for his painting, combining these with a sculptural cast of the model’s hands to create a new kind of portrait. 

A portrait of mezzo soprano Bernadette Greevy, Homage to Bernadette Greevy, 1978, was commissioned by Lambert in 1977 to acknowledge her great contribution to classical singing in Ireland.  The singer is represented in a variety of ways, through painted imitations of photographs, her record and cassette covers and through her voice.  The viewers presence triggers the playing of one of her best known recordings from a cassette player, concealed behind the fictitious cassette player in the picture. 

Robert Ballagh was born in Dublin in 1943, he originally studied architecture and worked as an engineering draughtsman, a musician and a postman before dedicating himself to painting in 1967.  Alongside his paintings he has also worked on a large variety of other projects including designing of over 70 stamps for An Post, the final series of Irish banknotes before the introduction of the euro, set design for the Riverdance Company and the Gate Theatre and the staging of the opening ceremony of the Special Olympics in Croke Park in 2003.  Ballagh is represented in the IMMA Collection by 19 works and his work is held in many other collections including the National Gallery of Ireland and the Ulster Museum.  A recent retrospective of his work took place at the Royal Hibernian Academy in 2006.  

The Heywood Community School is committed to exposing their students and the broader community to the arts at a national and international level. Previous exhibitions programmed at the school’s Annual Arts Week have included works by Pauline Bewick, Brain Bourke, Paddy Graham, Michael Kane, Louis le Brocquy, Fergus Lyons, Brian Maguire, Michael Mulcahy and Tony O’Malley. These exhibitions have been carried out in partnerships with the Arts Council of Ireland, the Butler Gallery, Kilkenny, and the Irish Museum of Modern Art.

IMMA’s National Programme is designed to create access opportunities to the visual arts in a variety of situations and locations in Ireland. Using the Collection of the Irish Museum of Modern Art and exhibitions generated by the Museum, the National Programme facilitates the creation of exhibitions and other projects for display in a range of locations around the country. The National Programme establishes the Museum as inclusive, accessible and national, de-centralising the Collection, and making it available to communities in their own localities, on their own terms, in venues with which the audience is comfortable and familiar.

The exhibition continues until 9 March 2007. 

Opening Hours:
Monday – Friday 10am – 3pm
Groups visiting the exhibition should book in advance.  Contact: Tel: 057 87 33333.

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: 01 612 9900 or Email: [email protected]

5 March 2007

An exhibition of the work Georgia O’Keeffe, one of the legendary figures of 20th-century American art, opens to the public at the Irish Museum of Modern Art on Wednesday 7 March. Georgia O’Keeffe: Nature and Abstraction comprises 28 works dating from 1918 to 1977, less than a decade before her death at the age of 98 in 1986. The exhibition presents a survey of her entire career, exploring the central focus of her work – the transformation of nature into abstraction by expressing an object’s essence through colour, form and allusion. It includes landscape paintings, flower studies and abstract works, her major areas of interest throughout her remarkable career.

Over the course of seven decades Georgia O’Keeffe became a major presence in American art; renowned not only for the stylized beauty of her work but also for steadfastly remaining true to her own unique vision amid the many shifting artistic trends of the time. The distinguished curator of the exhibition, Richard D Marshall, former Curator at the Whitney Museum in New York, notes that despite this, O’Keeffe’s work aligns with that of some of the major figures of 20th-century Modernism – both European and American – such as Monet, Picasso and Ellsworth Kelly who shared with O’Keeffe “the observation of nature as the inspiration of their subject matter. Her subjects were taken from life, and related both generally and specifically to places where she visited and lived.”

The exhibition includes several examples of O’Keeffe’s most emblematic work, among them Series I, No 4, 1918, and Series I, No 8, 1919, highly abstract compositions, heralding the dramatic change which her work underwent after her move to New York in 1918. This was followed in the early 1920s by an extensive series of works investigating the abstract potential of a single flower, enlarged to fill an entire canvas, of which Flower Abstraction, 1924, is an outstanding example, with its strong warm shapes and powerful three-dimensionality. The exhibition also includes two of O’Keeffe’s most lyrical compositions, Abstraction, 1926, and Abstraction Blue, 1927, which although related in concept and structure, differ in form and palette. 

The dominant influence on O’Keeffe’s work in the 1930s and 1940s was the landscape of New Mexico, which she first visited in 1929 and where she spent almost every summer for the following 20 years, eventually settling there in 1949. O’Keeffe’s paintings were now inspired by desert themes, including bleached bones, desert landscapes and isolated churches and buildings. Her transformation of nature into abstraction continued in works such as Rust Red Hills, 1930, which appears to be a completely abstract composition in brown, red and black, until the title reveals the subject. Green Patio Door, 1955, is one of the artist’s sparest abstractions consisting of three bands representing the blue sky, the adobe wall and green door of O’Keeffe’s own New Mexico house and the grey earth. 

For the rest of her career this same New Mexico landscape provided O’Keeffe with an endless source of inspiration and motivation. In the late 1950s a further group of paintings were created in response to her first experience of flying over the New Mexican landscape, including Blue and Green, 1960 and Winter Road, 1963, while one of her latest paintings From a Day with Juan II, 1976-77, echoes her earliest works in its purely abstract colour and form.

Georgia O’Keeffe was born in 1887 in Wisconsin, USA.  She was of Irish descent, her paternal grandparents, Pierce and Catherine O’Keeffe, left Co Cork in 1848 for America.  She studied at the Art Institute of Chicago and at the Art Students League, New York.   The international photographer Alfred Stieglitz, who later became her husband, promoted O’Keeffe’s work from 1923 until his death in 1946, organising annual exhibitions of her work throughout the United States.  As early as the mid-1920s, when O’Keeffe first began painting her large-scale depictions of flowers, which are among her best-known works, she had become recognized as one of America’s most important and successful artists.  Three year after Stieglitz’s death O’Keeffe moved from New York to her beloved New Mexico, whose landscape inspired her work from 1929.  O’Keeffe continued to work in oil until the mid 1970s, when failing eyesight forced her to abandon painting.  She continued to work in pencil and watercolour and also produced objects in clay.  She died in 1986 at the age of 98.  The Georgia O’Keeffe Museum, Santa Fe, New Mexico, was opened in 1997 and is the first museum in the United States dedicated to a woman artist. 

The exhibition is presented in association with THE IRISH TIMES.

The exhibition is co-organised by the Irish Museum of Modern Art and the Vancouver Art Gallery and curated by Richard D Marshall, independent curator, consultant, art historian and curator of the Whitney Museum of American Art, New York, from 1975 to 1993.  The exhibition will travel to the Vancouver Art Gallery, Canada, from 6 October 2007 to 13 January 2008.

Gallery Talk
On Tuesday 6 March at 5.00pm in the New Galleries Richard Marshall will give a talk on key paintings selected for the exhibition and the subjects that most inspired the artist. Admission is free, but booking is essential on tel: + 353 1 612 9948 or email: [email protected].

Georgia O’Keeffe: Nature and Abstraction continues until 13 May. Admission is free.

A fully-illustrated catalogue, published by IMMA, the Vancouver Art Gallery and Skira, Milan, accompanies the exhibition and includes texts by Richard Marshall, Dr Yvonne Scott, lecturer in the History of Art, Trinity College, Dublin, and Achille Bonito Oliva, art critic, writer, curator and teacher of History of Contemporary Art at La Sepienza University, Rome.

Opening hours:
Tuesday to Saturday 10.00am-5.30pm
except Wednesday 10.30am-5.30pm
Sundays and Bank Holidays 12 noon- 5.30pm
Mondays and Friday 6 April Closed

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

21 February 2007

An exhibition of work by one of Germany’s most innovative contemporary artists, Thomas Demand, opens to the public at the Irish Museum of Modern Art on Wednesday 28 February 2007. L’Esprit d’Escalier presents an overview of Demand’s recent work and comprises 19 large-scale photographic pieces, plus a new screening device, designed by Caruso St. John Architects, London, specially for this exhibition at IMMA to show the work Rolltreppe (Escalator), 2000. Ranging from 1995 to date, the exhibition presents such familiar works as Archiv (Archive), 1995. Others have never been shown before – including Landing, 2006, Demand’s photographic response to a mishap in January 2006 at the Fitzwilliam Museum in Cambridge when a visitor fell down a staircase, crashing into three 18th-century oriental vases, among the most important artifacts at the museum, smashing them into hundreds of pieces. Another new work being shown for the first time is Shed, 2006. 

The intriguing title of the exhibition, L’Esprit d’Escalier, derives from the French phrase which literally means ‘wit of the staircase’ and refers to the regret one feels after missing an opportunity to deliver a witty comeback or parting shot.

Demand is best known for his unique approach to photography – the subjects of his large-format photographs are painstakingly constructed three-dimensional, life-size models of architecture and objects, devoid of human presence. Once they have been photographed, the models are destroyed. Demand also makes 35 mm films, setting his cinematic still images in motion.

Demand began as a sculptor and took up photography to record his ephemeral paper sculptures. From 1993 he began making constructions for the sole purpose of photographing them. Beginning with a pre-existing image culled from the media, usually of a political or historical event, he translates this image into a life-size model made of coloured paper and cardboard. In Treppenhaus (Staircase),1995, Demand  brings to his work his own experience of post-war Germany, a country filled with Third Reich–era buildings, for which the period in which Demand grew up held the promise of reconstruction. He has recreated the Bauhaus-style stairway of his secondary school, built in the 1950s, alluding to the utopian idea in post-war Germany that architecture could create a better future.

Combining craftsmanship and conceptualism in equal parts, Demand highlights the unreliability of photography in a world saturated with images. His photographed scenes initially look real, but on closer inspection reveal a lack of detail that conveys a certain tension between the institutional blankness of each photograph and the loaded cultural background that informs them. Lichtung (Clearing), 2003, re-creates the Giardini, a public garden in Venice. Made of 270,000 individually cut ‘leaves’ of green paper, the photograph is cinematic in its panoramic scale and dramatic use of light.

Demand also depicts contemporary events, for example in Poll, 2001. Here, he works on scenes from the 2000 American presidential election and the media coverage of the results of the voting in Florida, using electronic photos issued by the news agency Reuters. Poll reveals rows of desks topped by Demand’s numberless telephones, uniform memo pads, and blank paper ballots carefully sorted into piles.

Thomas Demand was born in Munich in 1964 and lives in Berlin. He represented Germany at the Bienal de São Paulo in 2004 and his work was the subject of a mid-career survey at the Museum of Modern Art, New York, in 2005. He has exhibited widely and recent solo shows include the Serpentine Gallery, London, 2006, and the Museum für Moderne Kunst, Frankfurt am Main, Germany, 2006.

The exhibition is curated by Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA.

The exhibition is accompanied by a full-colour publication, produced in association with Walther König Books, and includes a new text by Dave Eggers Fictional Episodes from the Life of Thomas Demand amongst a number of newly commissioned texts by Ulrich Baer, Professor of German and Comparative Literature, New York University; Paul Oliver, author and professor; Caoimhín Mac Giolla Léith, curator, critic and Professor of Modern Irish at University College Dublin, and Rachael Thomas as well as a previously published text from Girl with Curious Hair by David Foster Wallace, and an afterword by Enrique Juncosa, Director, IMMA.

Gallery Talk
Alex Farquharson, renowned freelance curator and writer, will respond to the work of Thomas Demand in a gallery talk on Saturday 3 March at 3.00pm.  Admission is free, but booking is essential. To book please telephone the automatic booking line on Tel: +353 1 612 9948 or email: [email protected]

L’Esprit d’Escalier continues until 3 June 2007. Admission is free.

The exhibition is supported by the Goethe-Institut, Dublin.

Opening hours:
Tuesday to Saturday 10.00am – 5.30pm
except Wednesday 10.30am – 5.30pm
Sundays and Bank Holidays 12 noon – 5.30pm
Mondays, 6 April Closed

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

7 February 2007 

Exhibitions by such celebrated artists as Lucian Freud, Georgia O’Keeffe, Alex Katz and Anne Madden; a display of sculptures by Joan Miró and Alexander Calder, two of the towering figures of 20th-century art; a large-scale exhibition showcasing important new acquisitions by the Museum’s rapidly-growing Collection, and a significant expansion of its education and community activities are all part of rich and exciting programme for 2007 at the Irish Museum of Modern Art announced today (Tuesday 23 January) by the Minister for Arts, Sport and Tourism, Mr John O’Donoghue, TD. Plans for the coming year also include a further strand of solo exhibitions by leading artists from Ireland, Germany, Poland, India and Pakistan; a display from IMMA’s Collection of rare and valuable Old Master prints, and newly-devised programmes to increase the Museum’s involvement with the youth sector.

Speaking at the launch of what he described as the Museum’s most ambitious programme to date, Minister O’Donoghue said: "The range and depth of the exhibition programme for 2007 conveys a keen eye and unerringly refreshing vision. It is also a significant contribution to the overall cultural life of the country and to its potential as a destination for cultural tourists”. The Minister added that progress in developing the Museum’s Collection was equally impressive. “The policy implemented in recent years by the Museum’s Director, Enrique Juncosa, of identifying significant gaps in the Collection and then working tirelessly to fill them has yielded impressive results, in the form of a number of highly-significant acquisitions, such as the 50 works from the PJ Carroll Collection and the James Coleman trilogy”.

“In recognition of this, I was pleased last November to secure an additional €1.7 million to facilitate the Museum’s proposal to expand its National Collection through the acquisition of key works by William Scott, Louis le Brocquy, Howard Hodgkin and Sean Scully. Such acquisitions benefit not just the Museum itself, but also other locations throughout Ireland via IMMA’s National Programme and also through touring exhibitions like the Irish Art of the Seventies and Louis le Brocquy shows, which will go on show in the Crawford Gallery in Cork in March”.

The Minister went on to say that he was particularly pleased to announce a further expansion in the Museum’s education and community activities. “Ever since the Museum’s foundation in 1991, IMMA’s work in this area has provided ample evidence of the important benefits which can flow from a close and effective relationship between both the arts and education and the arts and the community. These programmes have made, and continue to make, an immeasurable difference to the lives of hundreds of people. 2007 will see a newly-designed programme for the youth sector, involving widespread consultations with national organisations serving young people. In addition, IMMA will be working with the Heritage Council and The Ark children’s cultural centre to develop further strategies for children and young people across the arts and education sectors”.

Commenting on the programme for the coming year, IMMA’s Director, Enrique Juncosa, said: “A third consecutive increase in the budget has allowed us to put together an even more ambitious programme for 2007, which includes exhibitions dedicated to Modern masters like Georgia O’Keeffe, Miró, Calder and Lucian Freud. We have not forgotten our commitment to contemporary practice in any case and we are also presenting a number of new artists. IMMA will also be producing new books about the Collection and the education departments, whose budgets have been substantially increased. Finally, we are presenting a significant number of Irish exhibitions, like a full scale retrospective of Anne Madden. We hope to make IMMA more accessible and exciting, presenting things that may appeal to our large and diverse increasing audience”.

Exhibitions

The 2007 temporary exhibition programme gets underway on 28 February with Alex Katz: New York, a large-scale exhibition of the work of one of the most influential American artists of the past 50 years. Comprising some 40 paintings and aquatints, it focuses mainly on the artist’s relationship with his native city, the first exhibition to concentrate mainly on that aspect of his work. Also opening on 28 February, Thomas Demand: L’Esprit D’Escalier presents an overview of Demand’s recent work, comprising 20 large-scale photographic works, questioning the photograph’s traditional role as a record of reality. A new architectural installation, specially-commissioned for IMMA, is also being shown.

These shows will be followed on 6 March by a survey of the extraordinary career of the legendary American artist Georgia O’Keeffe, whose paternal grandparents left Cork for the US in 1848. Comprising some 30 works from 1918 to 1977, the exhibition deals with the central concern of her art – the transformation of nature into abstraction through landscape paintings, flower studies and other works. In April IMMA’s courtyard will be the setting for an exhibition of sculpture by two of the giants of 20th-century art – the Spanish artist Joan Miró and the American sculptor Alexander Calder.

An exhibition by the British artist Lucian Freud, arguably the most important figurative painter working today, opens on 6 June. This will feature some 50 paintings and 20 works on paper and etchings, several being completed just months prior to the exhibition and being shown for the first time in a public venue. All of the artist’s favourite subjects are represented, including family, friends, lovers and fellow artists. A major retrospective of the work of Anne Madden, one of Ireland’s most highly-regarded painters can be seen from 27 June. Spanning her entire career, it brings together up to 60 works from the 1950s to date, including some of her best-known canvases and a number of recent works direct from the artist’s studio.

The coming year will also feature solo exhibitions by a number of other leading international artists, several being shown for the first time in Ireland. The Pakistani artist Shahzia Sikander, presents her first solo museum show in Europe from 28 March, while an exhibition of the work of the Indian multi-media artist Nalini Malani opens on 11 July.  The latter part of the year features an exhibition by the distinguished Polish artist Miroslav Balka, from 14 November, and a display of paintings and sculptures by the German artist Thomas Scheibitz, also opening on 14 November. There will also be a performance by the innovative Japanese sound artist, Ryoji Ikeda on 5 October.

Irish artists are also prominent. In addition to the Anne Madden show, the temporary exhibition programme will present an exhibition of drawings by Patrick Hall, one of this country’s most prominent artists, from 10 October; also a general overview of the work of James McKenna, the distinguished Irish sculptor who died in 2000, from 28 November.

Collection

Following the very significant growth in the Museum’s Collection in the last number of years, there will be particular interest in the Recent Acquisitions exhibition opening in April, which will include works by Cecily Brennan, Dorothy Cross, Barry Flanagan, Mark Manders, João Penalva, William Scott, Donald Teskey and many other leading artists.

April will also see the most comprehensive showing for some time of IMMA’s very fine collection of Old Master prints, the Madden Arnholz Collection, donated to the Royal Hospital Kilmainham in 1988 by Clare Madden. The exhibition will draw on Flemish, Dutch, Italian and German prints by such masters as Brueghel, Dürer, Altdorfer, and Aldegrever from the 16th-century, by Rembrandt, Callot, and Cuyp from the 17th-century and Hogarth, Goya and Daumier from the 18th and 19th-centuries.

The pioneering work of the Irish artist James Coleman, widely regarded as one of the most outstanding artists working in new media, returns to the Great Hall for the month of August. Lapsus Exposure, 1992-94, is the second in his trilogy of works acquired by the Museum through funding from the Heritage Committee in 2004.

In addition to the exhibitions at IMMA, Irish Art of the Seventies and Louis le Brocquy: A Celebration of the Artist’s Ninetieth Year, both shown to great popular acclaim at IMMA last year, will go on show in the Crawford Gallery in Cork this March.

Education and Community

The year ahead will see a number of new initiatives in education and community programming. Arising from the Museum’s participation in the Mapping Arts Project – a long-term action-research project with local youth service providers – a newly-designed programme for the youth sector will explore how IMMA can become more accessible to younger people.

In March a seminar with Creative Engagements, the initiative designed by the National Principals and Deputy Principals Association to increase post-primary students engagement with the arts, will be held at IMMA.

Work continues in association with the Education Faculty at the National College of Art and Design (NCAD) in preparation for the implementation of the revised Leaving Certificate syllabus, while the findings of the 2006 survey of art teachers will inform programmes for second level schools in 2007. The annual primary school programme is being enhanced, with the assistance of increased funding from the Department of Education and Science in association with IMMA’s National Programme. 

In terms of new publications, a new book addressing outreach work in museums is in development following on from the Access All Areas symposium in November 2006, and the papers presented at the 2004 Curating Now symposium will be published in 2007.

A number of new partnerships have been forged for the Talks and Lectures series. In February IMMA will collaborate with Poetry Ireland, when the American artist Alex Katz will be interviewed by poet Theo Dorgan. A further strand of talks and seminars will take place throughout the year addressing artists’ practice, in conjunction with IADT (Dun Laoghaire Institute of Art and Design) and with the NCAD (National College of Art and Design) post-graduate centre.

National and Artists’ Residency Programme

The Museum’s unique National Programme will again take IMMA’s assets and expertise to 14 locations around the country in 2007. Projects, based around works from the Collection, take a variety of forms arising from the Museum’s engagement with the venue in question and input from the local community.  These will include exhibitions in the Galway Arts Centre and in Galway University Hospital, a display or paintings by Robert Ballagh in Ballinakill, Co Laois, and exhibitions from the McClelland Collection in An Daingean, Co Kerry, and in Omagh, Co Tyrone. With the continued support of the Department of Education and Science, the Museum will again work with all 14 centres in developing an appropriate primary school programme.

The Museum’s Artists’ Residency Programme, creating access to the processes involved in making art and providing an added layer of experience to that available in the galleries, will host 15 artists from as far afield as Finland, Spain, the USA and Brazil. A full programme of talks and studio visits is, as usual, being arranged around the residencies all of which are free and open to the public. The programme will again participate in VISIT, a city-wide open studio event which created significant public interest in 2006 and will also strengthen its strand with invited artists.  Research in the field of partnerships and international residencies will continue in 2007.

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

23 January 2007

Exhibitions from the Irish Museum of Modern Art’s own Collection open to the public in two venues in Galway this February – as part of IMMA’s National Programme.  Radharc, comprising selected works from the IMMA Collection, opens to the public at Galway University Hospital and Galway Arts Centre on Friday 2 February 2007. The exhibition is curated by staff members of Galway University Hospital and the residents of Henry Street, Galway. The exhibition at Galway University Hospital will be opened by Olive Braiden, Chairperson, the Arts Council at 6.00pm on Friday 2 February while the exhibition at Galway Arts Centre, will be opened by Ruairí Ó’Cuív, freelance curator at 8.00pm on the same day.     

Works range from Barrie Cooke’s Megaceros Hibernicus, a painting in which the depicted elk represents a powerful symbol of pre-civilised consciousness, to Cúchulainn in Warp-Spasm by Louis le Brocquy, one of 20 tapestries by le Brocquy illustrating the legend of The Táin – both on show at Galway University Hospital. Works on show at the Galway Arts Centre include Scraping the Surface… by John Kindness, a New York taxi cab door onto which the artist has etched a scene in the style of a classical Greek vase, and Maud Cotter’s One Way of Containing Air, a work relating to the body and the structures we build around it.     

The exhibition also includes works by Alice Maher, Paula Rego, Tony O’Malley and Sean Scully at Galway University Hospital while the Galway Arts Centre includes works by Paul Winstanley, Alanna O’Kelly, and Andrew Vickery.    

Radharc will be accompanied by a series of workshops with hospital staff and local schools supported by the Department of Education and Science.

IMMA’s National Programme is designed to create access opportunities to the visual arts in a variety of situations and locations in Ireland. Using the Collection of the Irish Museum of Modern Art and exhibitions generated by the Museum, the National Programme facilitates the creation of exhibitions and other projects for display in a range of locations around the country. The National Programme establishes the Museum as inclusive, accessible and national, de-centralising the Collection, and making it available to communities in their own localities, on their own terms, in venues with which the audience is comfortable and familiar.

Openings Hours:
Galway University Hospital: Hospital opening hours, 24 hours
Galway Arts Centre: Monday – Saturday 10.00am – 6.00pm 

Radharc continues at Galway University Hospital, Newcastle Road, Galway and Galway Arts Centre, 47 Dominick Street, Galway until 3 March 2007.

For further information and images please contact Patrice Molloy or Monica Cullinane at Tel: +353 1 612 9900; Email: [email protected]

18 January 2007 

A large-scale exhibition of the work of Alex Katz, one of the most influential American artists of the past 50 years, opens to the public at the Irish Museum of Modern Art on Wednesday 28 February 2007. Alex Katz: New York comprises some 40 paintings and aquatints, focusing mainly, as the title suggests, on his relationship with his native city. It is the first exhibition to concentrate primarily on this aspect of Katz’s work. The exhibition presents many of his celebrated portraits, including those of his family – his wife and lifelong muse, Ada, and his son Vincent – and of his distinguished circle of friends, including poets, writers and artists, many shown against the backdrop of New York City. The exhibition also includes architectural views of the city, with its famous Manhattan sky line and Modernist architecture. The exhibition is presented in association with THE IRISH TIMES.

Alex Katz: New York provides a fascinating overview of Katz’s distinctive body of work, which has been described by the distinguished academic Donald Kuspit as “a new kind of American social realism”. Remaining true to his original figurative style, despite the prevailing move towards abstraction, Katz has continued to create his flat, brightly-coloured works, which blend perspectives from popular culture with the poise and composition of classical painting.  Despite their apparent simplicity, they have an unmistakable metropolitan elegance and sophistication synonymous with New York. 

Katz is best known as a painter of people, and the wide cross section of his portraits featured in the show demonstrate the variety which he has brought to the genre. They include dramatic variations in scale, abrupt cropping of images, and such subtle artifices as appearing to place his subjects in a luxuriant outdoor setting, which is, in reality, another Katz painting. Pride of place among the portraits goes to the poets and writers, many from the New York School, who made up the artist’s circle of friends and whose names constitute a veritable who’s who of New York cultural life.

Michael Lally from ‘Face of the Poet’, 1978, is a portrait of the Irish-American poet, which Katz made for inclusion in a book of Lally’s poems entitled March 18, 2003,  a critique of the invasion of Iraq, which took place on that day. In some cases we need to look behind the title to find the poet or writer being portrayed. The apparently anonymous figures in Marine and Sailor, 1961, are in reality the poets Frank O’Hara and Bill Berkson. The former is also featured in the Face of the Poet series of aquatints, as are several others including Allen Ginsberg, John Godfrey and Frank Lima.
 
A number of portraits of his Katz’ wife, muse and model for 50 years, Ada, are also featured, including Night 2, 1987, and – in a typical Katz painting within a painting – in Thursday Night 2, 1974, while the artist’s son, the poet Vincent Katz, can be seen Blue Coat, 1990, and Roof, 1989, were we see him dancing with his wife Vivien.  

A more general social realism can be seen in Up at the Bleachers, 1983, and After Hours, 1993, where we can almost hear the buzz of conversation between friends. In Hiroshi and Marsha, 1981, the artist’s friends are depicted against the background of Lower Manhattan, with the subjects’ place and the stylish beauty of New York deftly distilled into a single painting.

Among the most striking works devoted to the architecture, as opposed to the people, of New York are those of the city at night, imposing canvasses reminiscent of that other great chronicler of New York life, Edward Hopper – although more stylized and largely devoid of human figures. For example, the melancholic Purple Wind, 1995, masterfully contrasts the homely warmth of the windows of private residences with the purple night outside. Co-curator of the exhibition, Juan Manuel Bonet, sees “the great painter that is Katz like a Hopper of the second half of the 20th century, as a painter who occupies a comparable space to that which Hopper occupied in his day. Hopper died in 1967, and Katz said that he had reached ‘more people than any other American artist’. Amongst other things, both Katz and Hopper have been capable, each in their own way, of building their own vision of New York, of retaining and eternalizing instants of a life of a metropolis, and of making us see it through their eyes”.

Alex Katz was born in Brooklyn, New York, in 1927 and studied at The Cooper Union in New York and at Skowhegan School of Painting and Sculpture in Maine. His work has been the subject of nearly 200 solo exhibitions internationally since he first exhibited in 1954. 

He became widely known internationally following a large-scale retrospective at the Whitney Museum of American Art in 1986 and a print retrospective at the Brooklyn Museum of Art in 1988. These were followed by major exhibitions of portraits and landscapes at  Staatliche Kunsthalle, Baden-Baden (1995), Instituto Valenciano de Arte Moderno, Valencia (1996), P.S. 1/Institute for Contemporary Art, New York (1997-1998), the Saatchi Gallery, London (1998), Galleria Civica di Arte Contemporanea, Trento (1999), and Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn (2002).  

In the summer of 2003, the first European exhibition devoted solely to the artist’s celebrated portraits opened at the Fondazione Bevilacqua La Masa in Venice. An exhibition of the artist’s aluminum cut-outs opened at the Deichtorhallen Hamburg in 2003 and traveled to the Museum Moderner Kunst Kaernten, Klagenfurt, Austria.

Alex Katz’s work can be found in numerous public collections worldwide.

In 1994, The Cooper Union, where he had studied, endowed the Alex Katz Visiting Chair in Painting, and in 2000, honored the artist with its Artist of the City award. The Paul J. Schupf Wing for the Art of Alex Katz at the Colby College Museum of Art in Waterville, Maine, presents exhibitions of its in-depth collection of Katz’s paintings, cut-outs, drawings, and prints.

The exhibition is curated by Juan Manuel Bonet, independent curator, consultant, art historian and former Director of the Reina Sofía National Museum of Modern Art, Madrid, and Rachael Thomas, Senior Curator: Head of Exhibitions at IMMA. 

A fully-illustrated catalogue, published in association with Charta, Milan, accompanies the exhibition with an essay by Juan Manuel Bonet and an interview with the artist by Rachael Thomas, plus contributions from eminent poets selected by Vincent Katz.

In Dialogue

On Tuesday 27 February at 3.30pm Alex Katz can be heard in dialogue with poet and broadcaster Theo Dorgan in the Chapel at IMMA. This will explore the unique relationship between lyrical and paining aesthetics in Katz practice. The event is organised in association with Poetry Ireland. Admission is free but booking is essential on tel: + 353 1 612 9948 or email: [email protected]

The exhibition continues until 20 May. Admission is free.

Opening hours:
Tuesday to Saturday 10.00am-5.30pm
except Wednesday 10.30am-5.30pm
Sundays and Bank Holidays 12 noon- 5.30pm
Mondays Closed

For further information and images please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

15 January 2007

The Irish Museum of Modern Art wishes to inform potential visitors that, owing to essential maintenance, its First Floor Galleries will remain closed until further notice. This has become necessary due to certain difficulties with the galleries’ lighting system, which were discovered during routine maintenance and which need to be addressed as a matter of urgency.

This closure means that the Michael Craig-Martin and Iran do Espírito Santo exhibitions will be closed to the public; as will the Irish Art of the Seventies exhibition and the Louis le Brocquy display.

The newly-opened All Hawaii Entrées/Lunar Reggae exhibition, featuring works by 20 leading international artists addressing the processes involved in creating art, is unaffected by the closure. The Hearth exhibition presenting works from IMMA’s Collection on the theme of home, organised in collaboration with Focus Ireland, will also remain open.

The magnificent and much-admired wall painting by Michael Craig-Martin in IMMA’s courtyard will also be available to visitors as will the very popular Miró sculpture, given to the Museum on long-term loan earlier this year. The Museum’s café and bookshop will also remain open as usual.

Commenting on the closure, the Museum’s Director, Enrique Juncosa, said: “We very much regret this inconvenience to our visitors and we are working with the Office of Public Works to remedy these difficulties as soon as possible. I should also like to take this opportunity to reassure our visitors, and the many artists and lenders associated with IMMA, that at no time has there been any danger to the public, to our staff or to the artworks on show in the Museum.”

For further information please contact Monica Cullinane or Patrice Molloy at Tel: +353 1 612 9900; Email: [email protected]

30 November 2006

PRESS RELEASE

An important art publication is launched in IMMA on a visual arts programme – the first of its kind in Ireland – with children from disadvantaged areas of Dublin.

The book, launched by the Ombudsman for Children, also argues that every child has a right to lead a creatively rich and active life.

A new publication detailing a unique visual art programme involving community youth projects in the Bluebell, Inchicore and Rialto areas of Dublin will be launched on Tuesday 21 November 2006 by the Ombudsman for Children, Emily Logan, at the Irish Museum of Modern Art (IMMA). The publication, Mapping Lives, Exploring Futures, is written by Charlie O’Neill, playwright and arts consultant. The book provides a fascinating record of the seven-year Mapping Art Project.

The book also contains an innovative manual, sharing this original new model of art provision.

Commenting on the project Emily Logan said; “It’s clear that the project had an extraordinary effect on the children’s artistic and creative development but it also had an enormously positive impact on them as people. This is every child’s right – the right to express themselves in whatever language they choose. The language they chose here was the universal and transformative language of art. The evidence presented in this beautiful publication suggests that their mastery of this language allows them to live full and creative lives not only as citizens, but also as artists.”

Jim Lawlor of Rialto Youth Project said; “Mapping Lives, Exploring Futures is a celebration of some of Ireland’s youngest and most important imaginations. In this powerful body of work they are creatively insisting that they as people are important – but so is their art. The key to the project was professional artists and youth workers standing shoulder-to-shoulder with these children. This is what helped them unlock their own personal potential. It also helped them become vital contributors to their communities.”

Three of the young participants – representatives from each area – will speak at the launch. Transcripts of their contributions will be available on the day.

The Mapping Steering Group (representatives from the three youth projects, Common Ground, IMMA and artists) believes the publication Mapping Lives, Exploring Futures is a landmark and unique resource. It is offered as an inspirational reference book and practical guide for Irish and international artists, youth workers, community organisations, art institutions and galleries, resource organisations, policy makers, cultural commentators and funders.

The Steering Group believes that the programme is a persuasive argument to the decision-makers, on behalf of all children, to put in place the effective infrastructure and resources to allow our youngest citizens to liberate the artist and life-mapper bursting inside them. This book provides the arguments, the evidence and the tools to do just that.

In the book’s conclusion, author Charlie O’Neill makes the point: “Mapping did children a great service. It helped them to declare several personal republics of potential. And Mapping did art a great service. It was in fact an important mini art movement all to itself.”

ENDS

For more information or interviews, contact Steering group members:
Jim Lawlor, Rialto Youth Project, 01 4531638
Siobhan Geoghegan, The Common Ground, 01 4531861 mobile 087 2830583

20 November 2006