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The Visual Artists’ News Sheet VAN Issue 2: March – April 2021 A Visual Artists Ireland Publication Inside This Issue PROFILES – ARTIST PUBLISHING REVIEWS – ONLINE SCREENINGS INTERVIEW – JAN MCCULLOUGH GOLDEN FLEECE AWARD – 20 YEARS
Contents Editorial
On The Cover WELCOME to the March – April 2021 Issue of land this year.
The Visual Artists’ News Sheet. In columns for this issue, Matt Packer
Jan McCullough, Maquette for Installation, 2021, collaged photographic As galleries and museums across Ire- considers the impact of art falling ‘out-of-
prints, scrapbook, paint. Made during Light Work New York Remote land and Northern Ireland remain closed to sync’ with its intended proposal, and Miguel
Residency 2021 in partnership with IMMA; image courtesy the artist. the public, we have once again had to tem- Amado calls for a curatorial resistance to
porarily shift our focus away from physical the interdependence of finance and the
First Pages exhibitions. VAN’s March – April 2021 issue institutions of art. Cornelius Browne reflects
is loosely themed around artist publishing on the relations between art and walking in
5. News. The latest developments in the arts sector. activities, while also covering a timely range is column, ‘The Gentle Art of Tramping’, while
6. Roundup. Recent and forthcoming art publications. of online film screenings and moving image Éilís Murphy and Grace Wilentz discuss their
programmes. two-year collaboration.
Columns We seem to be witnessing an unprece- In VAN’s Career Development section,
dented return to publishing in the Irish visu- Mary Flanagan interviews artist Jo Killalea
8. Capital and the Museum. Miguel Amado calls for a curatorial al arts community, evident in the vast array about her painting practice; Gwen Burling-
resistance. of artist books, catalogues, monographs ton discusses the work of Irish artist, Renèe
When will the present begin again? Matt Packer considers the impact and photobooks currently being produced. Helèna Browne; and Meadhbh McNutt inter-
of art falling out-of-sync. These exciting developments are reflected views Jan McCullough about her current
9. The Gentle Art of Tramping. Cornelius Browne reflects on the across this issue of VAN. In place of our usu- exhibition at CCA Derry~Londonderry.
relations between art and walking. al Exhibition Roundup, we are presenting an Among other profiles, Susan Campbell
Parallel Studies. Grace Wilentz and Éilís Murphy discuss their two- inaugural Publishing Roundup, which pro- outlines the evolution of the Golden Fleece
year collaboration. files an assortment of recent Irish publica- Award, marking its twentieth anniversary
10. Artists & Brexit. Rob Hilken collates some key information. tions and zines, as well as current and forth- this year; while Jennifer Redmond consid-
coming international art books. ers various artworks in ‘Cahoots: The Space
Regional Focus: South County Dublin We have invited contributions from sev- Between’ – an artist-led digital exhibition,
eral independent publishing projects and organised in collaboration between A4
11. We are artists. We are performers! Niamh Hannaford, Visual Artist. imprints based in Ireland – Numbered Edi- Sounds (Dublin), Sample Studios (Cork), and
Building Community in Harold’s Cross. Eoin Mac Lochlainn, Visual tions, Bloomers Magazine, Soft Fiction Proj- Engage Art Studios (Galway).
Artist. ects and Stereo Editions – who each discuss VAN’s Critique section features recent
12. Rua Red. Maolíosa Boyle, Executive Director. their scope, evolution and future plans. In online screening programmes: Patrick
13. Feelings of Nostalgia. Clodagh Emoe, Visual Artist. addition, Christopher Steenson outlines Hough, ‘Revenant Images’ for aemi; Jesse
A Collection of Water. Dorota Borowa, Visual Artist. some key considerations for self-publishing; Jones, ‘We Interrupt This Apocalypse’ for
A Fallow Spell. Nina McGowan, Visual Artist. Sean Lynch interviews John Carson about Isolation TV; ‘Irish Short Reel Series’ for
his new book, produced by ACA Public; while CIACLA & MART; Sasha Litvintseva, Every
Career Development VAN Editor, Joanne Laws, discusses several Rupture (2020) for the Douglas Hyde Gal-
new photography publications, developed lery; and Phil Collins, Bring Down the Walls
14. Teenage Fanboy. Gwen Burlington discusses the work of Irish artist to accompany high profile exhibitions in Ire- (2020) hosted by Void Gallery.
Renèe Helèna Browne.
16. Tricks of the Trade. Meadhbh McNutt interviews Jan McCullough
about her current exhibition. The Visual Artists' Features Editor: Joanne Laws
18. Not Yet Saved. Mary Flanagan interviews artist Jo Killalea about her News Sheet: Production/Design: Thomas Pool
painting practice. News/Opportunities: Shelly McDonnell, Thomas Pool
Book Reviews
Visual Artists Ireland: CEO/Director: Noel Kelly
19. Phil Collins, Bring Down The Walls, 2020, colour, sound; 88 min.; Office Manager: Bernadette Beecher
photograph by Mel D Cole, Courtesy Shady Lane Productions. Northern Ireland Manager & Services Impact: Rob
20. ‘Irish Short Reel Series’, CIACLA & MART. Hilken
21. Patrick Hough, ‘Revenant Images’, aemi. Advocacy & Advice: Shelly McDonnell
22. Jesse Jones, ‘We Interrupt This Apocalypse’, Isolation TV. Membership & Special Projects: Siobhán Mooney
23 Sasha Litvintseva, Every Rupture (2020), Douglas Hyde Gallery. Services Design & Delivery: Michael D’Arcy
24 Phil Collins, Bring Down the Walls (2020), Derry Radical Bookfair & Logistics & Administration: Ali Waters
Void Gallery. News Provision: Thomas Pool
Publications: Joanne Laws
Artist Publishing Accounts: Dina Mulchrone
Board of Directors:
26. Independent Publishers. We hear from Numbered Editions, Bloomers Michael Corrigan (Chair), Michael Fitzpatrick, Richard
Magazine, Soft Fiction Projects and Stereo Editions about the scope Forrest, Paul Moore, Mary-Ruth Walsh, Cliodhna Ní
and evolution of their publishing projects. Anluain (Secretary), Ben Readman, Gaby Smyth, Gina
28. Self-Publishing: An Incomplete Guide. Christopher Steenson outlines O’Kelly.
some key considerations when self-publishing.
30. Artworks & Ephemera. Sean Lynch speaks to John Carson about his Republic of Ireland Office Northern Ireland Office
new publication.
31. Into the Light. Joanne Laws outlines several recent and forthcoming Visual Artists Ireland Visual Artists Ireland
photography publications. Windmill View House 109 Royal Avenue
4 Oliver Bond Street Belfast
Awards Merchants Quay, Dublin 8 BT1 1FF
T: +353 (0)1 672 9488 T: +44 (0)28 958 70361
34. A Golden Opportunity. Susan Campbell traces the evolution of the E: info@visualartists.ie E: info@visualartists-ni.org
Golden Fleece Award. W: visualaritsts.ie W: visualartists-ni.org
Principle Funders Project Funders Corporate Sponsors Project Partners
Artist-Led
36. The Space Between. Jennifer Redmond considers various artworks
in ‘Cahoots’.
International Memberships
Last Pages
38. Opportunities. Grants, awards, open calls and commissions.
39. VAI Lifelong Learning. Upcoming VAI helpdesks, cafés and webinars.
The Exhibition Virtual Tour
Available Online
WolfWalkers Talk Series:
Join us for a superb line-up of speakers from Cartoon Saloon's Creative Team,
offering an insight into the creation of their latest film, WolfWalkers.
www.butlergallery.ie
Kilkenny County Council
Comhairle Chontae Chill Chainnigh
HOME
Being and Belonging in Contemporary Ireland
An Arts Council funding scheme for
www.glucksman.org/exhibitions/home
individual artists with disabilities.
Round 1 Opens: 06 April
Deadline: 24 May at 4pm
Round 2 Opens: 30 August
Deadline: 18 October at 4pm
Sara Baume, Tinka Bechert, Martin Boyle, Brian Duggan, James L. Hayes,
Kerry Guinan, Eileen Hutton, Julie Merriman, Doireann Ní Ghrioghair,
Download guidelines and application
Sinéad Ní Mhaonaigh, Treasa O’Brien, Julia Pallone, Amanda Rice,
Ciara Roche, Kathy Tynan, Mieke Vanmechelen forms from 06 April here:
www.adiarts.ie/connect
Curated by Chris Clarke and Fiona Kearney Contact: amie@adiarts.ie
The Glucksman, University College Cork, T12 V1WH Ireland / www.glucksman.org
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Visual Artists' News Sheet | March – April 2021
THE LATEST FROM THE News 5
ARTS SECTOR
Rua Red Announces Magdalene Series for 2021
Launching this summer at Rua Red, the Mary Magdalene’s associations with the theologians will deliver lectures on key Series educational resource archive
Magdalene Series is a programme of exhi- incarceration and institutionalisation of themes in the artists’ work. These lec- which will be available for audiences at
bitions, interventions, performances and women and other themes such as forced tures will form part of the Magdalene ruared.ie
events curated by Rua Red Director/Cura- labour, morality, shame, reparation and
tor Maolíosa Boyle. The series features penitence. The series will propose a new
five of Ireland’s leading artists: Amanda world, uncurbed by religious, political or
Coogan, Alice Maher, Rachel Fallon, Jesse societal doctrine, a world led by the experi-
Jones, and Grace Dyas. Rua Red commis- ence of the Magdalene and viewed through
sioned the five artists to research and pro- the lens of contemporary feminism and
duce new work in response to Mary Mag- feminist theology.
dalene. The Magdalene Series is the culmination
As a subject of fascination and curiosity of a three-year collaboration between the
throughout history, Mary Magdalene is a artists and curator. The process has includ-
binary creation: conflicted and mysterious, ed input from theologians, academics and
noble and humble, strong yet morally weak, researchers. Writers such as Sinead Glee-
beautiful and haggard, passionate yet pen- son, Silvia Federici and Kate Antosik Par-
itent, erotic and unreserved, reclusive and sons are working with the artists to create
solitary. The Magdalene is the earthly, car- a series of essays and responses to the
nal, and sensual counterpart to the celes- work. A publication, to be launched at the
tial Virgin. She embodies humanity and end of the series, will contain these texts.
humility – she sweats, cries and bleeds. As part of Rua Red’s active research
Rua Red’s Magdalene series will explore space, several academics and feminist
Arts Council announces more than 30 forms, and are designed to enable artists to make debris. The two County Cork based organisa- social and climate justice, advocating for artists
funding opportunities for 2021 innovative, ambitious and high-quality work. tions – with the NSC is located in Elfordstown and the importance of art in society, lobbying for
The Arts Council has announced more than 30 Opens on 30 March, closes 29 April. just outside Midleton, and Greywood Arts the support of the arts sector, setting standards
awards and funding schemes for 2021, designed Arts Grant Funding, designed to ensure that in the nearby village of Killeagh – announced for payment and valuation of artwork, and the
to give to a wide range of artists and arts organi- there is a breadth of high-quality arts activity their partnership to mark Global Community development of policy that benefits artists and
sations the opportunity to apply for support. throughout the country, offers flexible support Engagement Day, celebrated on 28 January. art organisations.
The state agency for funding and developing for a fixed period of time, and responds to the “Greywood Arts is centred around the idea
the arts said it was publishing the opening and needs of those who are making, presenting and of artists and community coming together to Future of Ormston House Secured
closing dates for all of its schemes through to supporting work. Opens on 13 April, closes on explore the creative process,” said Jessica Bon- Ormston House, Limerick, has been used as
December. 27 May. enfant Coogan, Greywood’s Artistic Director. a focal point for arts and culture in the heart of
The announcement includes a new ‘Agil- Schemes and awards are open to arts organi- “Having the National Space Centre in our area the city since 2011, and has hosted around 350
ity Award’, an open and flexible grant scheme sations, artists or practitioners meeting the pub- means we can offer this exceptional opportunity exhibitions and events and worked with 296 art-
designed around the needs of professional artists lished criteria. Please note that you must register for an artist to utilise unusual materials to create ists from 27 countries. It supports creative prac-
and arts workers. Priority will be given to appli- for online services before you submit an appli- art that investigates reuse.” tices and provides the opportunity for artists to
cations that demonstrate how the applicant’s cation. “We’re excited to share space communications develop challenging and experimental works.
practice will benefit from taking time to devel- components including circuit boards, assemblies The local authority has put forward a long-
op their craft, and/or working on artistic ideas. Kenmare Butter Market and data subframes with a sculptor, as well as term draft lease for Ormston House to the full
There will be three rounds of this award in 2021; Originally built in the mid-19th century, the preserved panels from our recently dismantled council meeting of Limerick City and County
spring, summer and autumn. Kenmare Butter Market was converted to a 13-metre EU-5B4 dish,” explained NSC CEO, Council which was formally adopted by coun-
“This is an immensely challenging period for dance hall in the 1960s. Steeped in history and Rory Fitzpatrick. “That dish is a great example cillors in January.
the arts, and it is vital that our artists and arts located in the centre of Kenmare town, Co Ker- of the kinds of space sector refuse being gener- Mayor of the City and County of Limerick
organisations are able to plan for the future,” ry, and on both the Iveragh and Beara penin- ated as technology accelerates. This residency is Cllr Michael Collins said: “There have been
said Arts Council Director, Maureen Kennelly. sulas along the Wild Atlantic Way, this makes also a chance to cooperatively re-purpose what many false hopes for Ormston House since it
“By publishing our full funding schedule for the for an ideal location for artists. The building was we can’t recycle and see what can emerge from was put up for sale, but now I’m delighted to
year we hope to encourage and support artists originally purchased to house a whisky distillery space waste.” say that the Council, with the support of the JP
as they imagine a vibrant, creative, post-Covid as part of a larger idea to reimagine the whisky The residency will be on site at the NSC, and McManus Benevolent Fund, have purchased the
Ireland.” distilling of Islay that will expand across several the selected artist will be able to collect materials building. I know that for a lot of people, Orm-
In its October Budget, the Government allo- new distilleries in other historic spaces includ- and explore the other-worldly campus environ- ston House has played an important role in their
cated some €130 million to the Arts Council for ing Killarney and on the Iveragh Peninsula. The ment, before returning full-time to Greywood to development as artists, and now will continue
this year, which the Council said represented Kenmare Butter Market is one of those build- begin a sculptural piece. It will conclude with a to be available to them. I wish to thank the JP
a strong signal that the arts will be central to ings. According to a press release: public exhibition at the National Space Centre McManus Benevolent Fund for its support in
national recovery. “Phase 1 will see the building used as it is of the completed work at the end of the year. helping Limerick City and County Council
The table here lists the funding opportunities now, an industrial urban space. In Phase 2, archi- secure this resource for the people of Limerick.”
being planned by the Arts Council for 2021. It tectural work will commence along with the Visual Arts Alliance The property was acquired in April 2020
is as accurate as of January 2021, but subject to addition of the new distillery. The space is also The Contemporary Visual Artists Network from Mount Kennett Investment Company for
change. Please be sure to check the funding sec- large enough to accommodate large artworks. (CVAN) has proposed a Visual Arts Alliance to €280,000.
tion of their website, and subscribe to the Arts An apartment and studio for resident artists address the socio-economic hurdles that artists Limerick Culture and Arts Office is delight-
Council Newsletter for up-to-date information may also form part of the design brief and Graf- and arts organisations face in response to the ed that this historic structure, in the heart of
throughout the year. ton Architects will be the design leads on the continued Covid-19 crisis, stating: the city, has been secured for culture and arts in
Among the schemes and awards published project. “The far-reaching and unpredictable effects Limerick.
are: “We are excited to announce our inaugural of the pandemic are only beginning to unfold. “Ormston House now has a long term home
Bursary Awards are to support professional exhibition in May/June is an unveiling of new To ‘build back better’ we need a new approach in which to continue to work with artists and
artists in the field of dance to develop their art work by established Irish artists, Bridget Flan- one where we address inequalities, the cli- communities and to shape our cultural land-
practice. It provides artists at any stage of their nery, Paul Hughes and Paddy Lennon at a date mate emergency and the imminent econom- scape,” she said. “The Limerick Culture and
career with the time and resources to think, yet to be announced. Kenmare Butter Market is ic hardship that will be faced by many. This is Arts Office looks forward to Ormston House
research, reflect and critically engage with their committed to showcasing Irish and internation- the moment where we must come together to re-opening to the public and continuing to work
art. Opened on 15 December 2020, closes 28 al professional artists.” ensure that artists play a leading and pivotal role with our artistic communities to programme
January 2021, with another round opening 25 in pushing for societal change where we chal- events and activities over the weeks and months
May and closing 24 June. National Space Centre Announces Artist lenge established ways of working, thinking, and ahead, particularly as the sector prepares to
Commissions Awards are available across Residency with Greywood Arts being in the world.” re-build post Covid. This purchase is a testament
several art forms and arts practice areas support- Greywood Arts and Ireland’s National Space The mission and values of the Visual Arts to the vison and hard work of the Co-Director
ed by the Arts Council. Opens on 30 March, Centre (NSC) have announced their inaugural Alliance were also laid out for prospective mem- and founder of Ormston House, Mary Conlon,
closes 29 April. Artist in Residence, offering a sculptural art- bers. and all of the creatives and artists who have con-
Project Awards are offered across four art ist the chance to work with space technology The Alliance would also be committed to tributed to its success.”
Visual Artists' News Sheet | March – April 2021
6 Publishing Roundup
Ireland Student Zines
A SOUNDSCAPE OF NOTES A WOMAN’S WORK DIGITAL ART IN IRELAND COHOST
Kimberly Goes’ self-published artist’s book, A Gallery of Photography Ireland presents a joint Digital art goes by many names – net art, elec- The cohost publication provides an insight into
Soundscape of Notes and the s paces between, pres- venture with Creative Europe featuring art- tronic art, computational art, multimedia art, the work of twelve artists and researchers com-
ents research undertaken on the ‘Soundscape ists Clare Gallagher and Csilla Klenyánszki: A new media art, screen-based art – but generally, pleting the IADT ARC Masters programme in
of a City’ (a trigger part of The Urban Explorer Woman’s Work. The title of Gallagher’s work, Sec- this is a domain in which the objects of discus- 2021. It has been devised in parallel with the
Project), tested during a series of solitary and col- ond Shift, refers to the hidden burden, primarily sion rely absolutely on modern and contempo- online exhibition cohost, curated by Astrid New-
laborative walks as part of ‘The Drive of Walking’ carried by women, of housework and childcare rary electronics to achieve their artistic purpose. man (14 – 24 January 2021). Cohost is the third
public programme at the Jan van Eyck Academie. on top of their paid employment. Klenyánszki’s Edited by James O’Sullivan and published by publication from arc public press, an imprint
Self-reflective and experimental in its approach, Pillars of Home reflects on how the challenges of Anthem Press, Digital Art in Ireland: New Media established in 2017 to support ARC students
this publication is a collection of written notes, early motherhood are transformed into a game and Irish Artistic Practice brings together a col- and graduates, who have realised projects con-
impressions and visual scores of the soundscapes surrounding the newfound lack of time, fragility lection of timely perspectives from scholars and necting art with many different disciplines and
gathered on these walks. of a new life, the weight of responsibility, ten- practitioners engaged with screen-based expres- fields. The ARC programme is co-directed by
kimberlygoes.com sion, and a change in identity. sion. Maeve Connolly and Sinead Hogan.
galleryofphotography.ie anthempress.com arciadt.ie
DANIEL O’NEILL: ROMANTICISM &
FRIENDSHIPS SO SICK AND TIRED MEMORY AND INTERMEDIALITY COM,MA
November 2020 sees the publication of the first In the summer of 2020, in the midst of the Sarah Durcan’s new book, Memory and Inter- For the MA in Art & Process programme
monograph, written by Karen Reihill, on the pandemic, National Sculpture Factory commis- mediality in Artist’s Moving Image, published by (MA:AP) at MTU Crawford College of Art &
life of Northern Irish painter, Daniel O’Neill sioned an artwork for Cork Midsummer Festival Palgrave Macmillan, addresses the preoccupation Design, the generation of a publication, titled
(1920-1974) which marks the centenary year of by artist and writer Sara Baume. The four-me- with memory in contemporary artists’ moving COM,MA, was positioned within the Produc-
his birth. Born during the War of Independence, tre-long neon text work hung on the facade of image installations. It situates artists’ moving tions module. This is a collaborative component
the story begins with O’Neill’s first attempts the NSF building and was illuminated on the image in relation to digitalisation, as hybrid for students to produce an exhibition framework
to exhibit in his native city of Belfast during Summer Solstice. To mark its extinguishing on intermedial combinations of analogue film, and group identity, facilitated through tutor-led
World War II with fellow artists and life-long the Winter Solstice, NSF invited writer, curator video and digital video emerge from the mid- workshops, peer discussions and research. Stu-
friends, Gerard Dillon and George Campbell. and art historian, Sarah Kelleher, to reflect on 1990s onward. Artists like Stan Douglas, Steve dents managed, edited and produced COM,-
Considered a mysterious and enigmatic figure the commission and the designers from unthink McQueen, Runa Islam, Mark Leckey and Eliza- MA as a means of representing their exhibition.
during his lifetime, new material shines light to create a unique object to unify all aspects of beth Price chronicle the transition from analogue MA:AP 2020 students: Catarina Araújo, Padra-
on O’Neill’s personal struggles and his complex the project. to digital, emphasising the nuances of interme- ic Barrett, Deirdre Breen, Aoife Claffey, Seán
relationship with his art dealer, Victor Wad- nationalsculpturefactory.com diality and the extent to which we remember Daly, Joe Fogarty, Inguna Mainule, Kate Mcel-
dington. through media. roy, Ida Mitrani.
frederickgallerybookshop.com TBG+S STUDIO PUBLICATION SERIES palgrave.com crawford.cit.ie
TBG+S presents their Studio Publication Series,
BECOMING AUDIBLE a new collection of zine-like booklets, featur- TOMORROW IS SUNDAY E-QUADRANT
Published by Penn State University Press as part ing Richard Proffitt in Series #2. The sketch- Following a family bereavement in 2013, Miri- Final year students of Ulster University’s MFA
of their Animalibus series, Irish artist Austin book-like approach draws together thoughts, am O’Connor returned home to live and work programme created a 16-page A6 monochrome
McQuinn’s timely and provocative new book, ideas and a variety of processes of individual on the family farm. Tomorrow is Sunday is an zine, titled E-Quadrant, to accompany their
Becoming Audible: Sounding Animality in Per- artistic practices that are not usually visible out- ongoing photographic project which engages Interim Show in January 2021. Originally
formance, explores the phenomenon of human side of the artists’ studio. The dust blows forward with this unanticipated homecoming. Over the due to be shown in Catalyst Arts, Belfast, the
and animal acoustic entanglements in arts and ’n the dust blows back experiments with a style last number of years, she has struggled to under- exhibition was moved online, due to ongoing
performance practices. Framing his enquiry of digitally collaged imagery that has recent- stand this transition through the medium of COVID-19 restrictions. The ten artists’ work
with Deleuze and Guattari’s concept of becom- ly informed an online video project, You’re Not photography, using the camera and other prac- was physically mounted in two ‘quadrants’ over
ing-animal, McQuinn demonstrates that to Dreaming Anymore (2020). Images of the art- tices of reading, writing, collecting and reflect- two weeks in their university studios and was
become audible in performance is to resonate ist’s installations and recent paintings are also ing in a quasi-therapeutic manner to document accessible virtually, including one-to-one video
“through the labyrinths of the cultural and incorporated into the collages to consolidate the fragments from daily life and experiences. This tours. E-Quadrant was a small, tactile token of
the creatural,” not only across species but also many aspects of Proffitt’s practice under a uni- approach to understanding and acceptance often their work, which could be assembled and post-
beyond the limits of the human. fied aesthetic. raised more questions than it provided answers. ed out.
psupress.org templebargallery.com miriamoconnor.com mfabelfast.wordpress.com
Austin McQuinn, Becoming Audible: Sounding Animality Sara Baume, So sick and tired, 2020; Photograph by Ulster University MFA students, E-Quadrant, 2021, A6 monochrome zine; image courtesy Susan Hughes.
in Performance, 2020; image courtesy the author. Johnny Savage, courtesy the artist and NSF.
Visual Artists' News Sheet | March – April 2021
Publishing Roundup 7
IADT ARC MA students, cohost, 2021, featuring Karen Browett, Wall Woman, 2020, photographic self-portrait with MA:AP 2020, COM,MA, Deirdre Breen, Clung, 2020; Seth Siegelaub “Better Read Than Dead” Writings and
screen printed wall fabric (pp 12-13); Image courtesy Astrid Newman. design by Niall Sweeney, courtesy Padraig Spillane. Interviews: 1964-2013; image courtesy Jo Melvin.
International International
Recent Forthcoming
ART AND LABOUR “BETTER READ THAN DEAD” ANNI AND JOSEF ALBERS BY LAKE VEREA ARTHUR JAFA: MAGNUMB
A new book by Dave Beech, titled Art and A new book, edited by Marja Bloem, Lauren In 1925, textile artist Anni Fleischmann, mar- This forthcoming book, being published by
Labour: On the Hostility to Handicraft, Aesthet- van Haaften-Schick, Sara Martinetti and Jo ried multimedia artist Josef Albers, beginning Louisiana Museum of Modern Art in 2021,
ic Labour and the Politics of Work in Art (Brill, Melvin, seeks to fill the historical gaps in the one of the most artistically fruitful marriages offers an essential overview of filmmaker and
2020), provides a “new history of the changing network of exhibitions, publications, projects of the 20th century. This tender portrait of the artist, Arthur Jafa’s sweeping, dynamic and dis-
relationship between art, craft and industry, and collections pertaining to the life and work prominent Bauhaus couple (due to be published quieting video portraits of Black American life.
focusing on the transition from workshop to of American-born art dealer, curator, author and in 2021 by Hatje Cantz) includes ephemera and The publication includes Love is the Message, the
studio, apprentice to pupil, guild to gallery and researcher, Seth Siegelaub (1941-2013). Titled correspondence from the Albers archive. The Message is Death (which garnered him acclaim
artisan to artist.” Beech suggests that the history Seth Siegelaub “Better Read Than Dead” Writ- personal context of Anni and Josef ’s creative life in 2016) and its 2018 follow-up piece, The White
of the formation of art, as distinct from hand- ings and Interviews: 1964-2013, the book fea- together emerges through objects, conversations Album. Jafa grew up in Mississippi, USA. His
icraft, commerce and industry, can be traced tures unpublished documents from Siegelaub’s and associations. This is an intimate portrait of oeuvre revolves around Black American culture,
back to the dissolution of the dual system of archives, selected writings, numerous interviews, two legendary art historical figures, as much as it the history of slavery, and ongoing structural and
guild and court. extended bibliography and chronology. is a meaningful exploration of a marriage. physical violence against Black Americans.
brill.com buchhandlung-walther-koenig.de hatjecantz.de louisiana.dk
VITAMIN D3 THE ARTIST IN TIME HONEY IS FLOWING IN ALL DIRECTIONS MOMAS PROJEKT
Over the past 50 years, drawing has been elevat- Chris Fite-Wassilak’s new book, The Artist in On the centenary of the birth of German Not a ‘real’ museum or installation, the Museum
ed from a supporting role to a primary medium, Time: A Generation of Great British Creatives avant-garde sculptor and performance artist, of Modern Art Syros (MOMAS) was created
ranking alongside painting as a central art form. (Bloomsbury Press, 2020), provides a collective Joseph Beuys (1921-86), a new edition of the in 1993 by German artist, Martin Kippenberger,
Since the publication of Vitamin D (2005) and portrait of a generation who have shaped our classic book, Joseph Beuys: Honey is Flowing in in Syros, Greece. Kippenberger assumed the role
D2 (2013), contemporary artists have contin- artistic landscape. All born before 1950, the fea- All Directions (first published in 1997) is being of museum director in a cement ruin building,
ued to explore drawing’s possibilities – from tured artists each respond the question “what reconceived by Klaus Staeck and Gerhard Steidl. with no walls on which to hang art. Both an act
intimate to large-scale works, in a diversity of makes an artist?” offering insights into what The book focuses on Beuys’ ‘Free International of parody and creative camaraderie, he invited
mark-making processes and materials. Con- constitutes a creative life. As a handbook for University’ at Documenta 6 in Kassel in 1977, a group of friends to work and exhibit annual-
ceived, edited and published by Phaidon, Vita- creativity and inspiration, it gives readers access for which he undertook a series of sculptur- ly at MOMAS. This forthcoming publication
min D3 (2020) showcases more than 100 such to the studios and workspaces of a diverse group al interventions and events, filling numerous from MAMCO Genève provides the first study
artists, nominated by more than 70 internation- of painters, poets, choreographers, filmmakers, blackboards with texts, diagrams and musical of the project and features original plans and
al art experts. illustrators, musicians, photographers, sculptors, scores. The original photographic documenta- interviews with some of the participating artists.
phaidon.com writers and creators. tion is reproduced in this book.
bloomsbury.com steidl.de mamco.ch
WHY HAVE THERE BEEN NO GREAT WOM-
EN ARTISTS? SUPPOSE A SENTENCE THE ARRIVAL OF SPRING IN NORMANDY THINKING OF YOU. I MEAN ME. I MEAN
American art historian, Linda Nochlin’s land- In Suppose a Sentence, Brian Dillon turns his David Hockney: The Arrival of Spring in Nor- YOU
mark 1971 essay heralded the dawn of a femi- attention to the oblique and complex pleasures mandy, 2020 is being published by the Royal Since the 1970s, Barbara Kruger has been inter-
nist history of art. In this stand-alone anniver- of the sentence in literature. A series of essays Academy of Arts later this year, to coincide with rogating consumer culture through visual and
sary edition, published by Thames & Hudson prompted by a single sentence – from Shake- an exhibition of the same name (27 March – written language. This volume – being published
in January 2021, Nochlin’s influential essay speare to Gertrude Stein, John Ruskin to Joan 22 August 2021). From his home, studio and by Delmonico Books/Los Angeles County
appears alongside its reappraisal, ‘Thirty Years Didion – the book explores style, voice and lan- garden in Normandy, just as 2020 COVID-19 Museum of Art in May 2021 – traces Kruger’s
After’. Nochlin dismantles the very concept of guage, along with the subjectivity of reading. pandemic restrictions were coming into force, practice to reveal how she reacts and adapts to
greatness, unravelling the basic assumptions Published in September 2020 by Fitzcarraldo Hockney witnessed the arrival of spring. He shifting moments, sites and contexts. Remaining
that created the male-centric genius in art. Editions, Suppose a Sentence examines not only used his iPad as an antidote to anxiety, captur- urgently resonant in a rapidly changing world,
With unparalleled insight, Nochlin lays bare the how and why the sentence works, but also what ing the exuberance of nature. This book features Kruger is one of the most incisive and coura-
acceptance of a white, male viewpoint in art his- the sentence once was, what it is today, and what 116 new iPad drawings in an intimate sketch- geous artists reacting to contemporary culture
torical thought as not merely a moral failure, but it might become tomorrow. book format. today.
an intellectual one.
thamesandhudson.com fitzcarraldoeditions.com royalacademy.org.uk delmonicobooks.com
Visual Artists' News Sheet | March – April 2021
8 Columns
Curation Curation
Capital and the Museum When Will the Present Begin Again?¹
MIGUEL AMADO CALLS FOR A CURATORIAL RESISTANCE TO THE MATT PACKER CONSIDERS THE IMPACT OF ART FALLING OUT-OF-
INTERDEPENDENCE OF FINANCE AND THE INSTITUTIONS OF ART. SYNC.
“A SPECTRE IS haunting Europe – the spec- tutions such as New York’s Museum of Modern WE START 2021 on the green grass that haunted intended proposal. This is especially important if
tre of communism.” So begins the Communist Art – the quintessential museum and a central our dreams for most of last year. This is when we’re to believe that art should seek its relation
Manifesto, penned by Karl Marx and Friedrich art scene player, whose boards are dominated by it was all supposed to be over, and all about to to the world as it actually occurs – a ‘con-tem-
Engels in 1848. Today, it is the reality of neolib- such individuals. happen. The cultural and social repression of porary’ art in the most literal sense. If we’re to
eralism that is haunting the world. As capitalism The institution made headlines in this respect the past year would spill out into the crowded believe in that principle, then we also have to
in its neoliberal form has been spreading world- at the beginning of 2021. According to Hyperal- streets, into exhibition spaces, concert halls, the- accept that artworks and artistic programmes
wide since the 1970s, a revival of quasi-fascism lergic: “Over 150 artists, art workers, and activist atres, pubs and bars. This would be the rejoinder that were developed pre-pandemic are going
rises apace, exacerbating social divides in which groups are calling on the Museum of Modern of our previous lives before they were cruel- to land very differently by the time they reach
the ‘other’ – bodies, minds, practices or imagina- Art in New York to separate itself from its chair- ly interrupted, only this time it would be even an exhausted post-pandemic public in the latter
tions different from mainstream modes of living man, billionaire Leon Black… over his links to better, simultaneously slower, kinder, and more part of 2021 or beyond. Some things will land
– is devalued, even dehumanised. convicted sex offender Jeffrey Epstein.” While enriched. with extra poignancy. In other cases, artwork
A century ago, the theorist Antonio Gram- some of these artists are luminaries, such as Nan The postponement of so much of last year’s will meet its public with new and unsuspecting
sci proposed the notion of ‘cultural hegemony’ Goldin, the majority are agents belonging to cultural activity, taken with all the ad hoc con- irrelevance, unable to speak to our new circum-
to explain the domination of one social group the dark matter. The feminist, anonymous art- fidence that 2020 had available, now has 2021 stances or accurately depict our relations. In
(the ruling class) over all others (the oppressed ist collective Guerrilla Girls had already target- cornered with dawning realities of a virus that some cases, and worst of all, I worry that things
classes) in terms of culture rather than econom- ed Black in 2019 for the same reasons. Now, in continues to mutate and thwart our best efforts will circulate among our arts institutions with
ics, as the classical Marxist perspective had con- parallel to the current anti-Black campaign, the to contain it. We look back at a cultural year that unacknowledged anachronism, self-satisfied
ceived it. Through cultural hegemony, the dom- Guerrilla Girls have canceled a book contract has been marked by pronouncements of defer- with being locked within the horizon of a differ-
inant minority imposes a single worldview that with Phaidon Press, after realising that Black ral, postponement, cancellation and plea, only to ent time entirely. In the midst of the historical
excludes the ‘other’ – the ‘subaltern’, as Gramsci owns the publisher. look ahead at a year that looks shaky at best. event of the pandemic that could well shape the
called them – who actually constitute the major- The association of art and capital is not In March, the Liverpool Biennial – the rest of our lives, there is a risk of contemporary
ity of the social fabric. new; just remember the Medici, the Floren- UK’s largest festival of contemporary visual art art becoming less and less contemporary at a
Resistance to cultural hegemony has been tine banking family whose riches powered the – is due to open, following a decision made in time when its contemporaneity has never mat-
resurfacing in the West through the lens of Renaissance. Yet it has been expanding far more April last year to delay its original opening date tered more.
identity politics. In the field of art, assertions of exponentially since the invention of the modern of July 2020. In a statement that accompanied In 2018, I visited the National Archaeolog-
the rights of minorities (whether based on eth- museum as part of the process of social distinc- the news of its postponement, the organisers ical Museum in Naples, where the Gabinetto
nicity, sexual orientation or body/neurological tion that the ruling class has been developing, outlined their intentions to deliver the bienni- Segreto (Secret Cabinet) is housed. It contains a
ability) and movements challenging patriarchy and today it has reached a level, describable al “as originally conceived but responsive to the collection of erotic art and artefacts from Pom-
(from the contestation of institutionalised sexual as philanthropic toxicity. Just one example is new context”. Those words must have seemed peii and Herculaneum that predated the cata-
harassment, to demands for equal pay) are just Warren B. Kanders, former board vice-chair of so comfortably open and non-committal when strophic eruption of Mount Vesuvius in 79AD.
two examples of a growing understanding of the the Whitney Museum of American Art, who they were written over nine months ago, but First discovered in excavations by archaeologists
continued obligation to embrace the connec- resigned in 2019 following an outcry over his now seem tragically ill-fated. It seems impossi- in the 18th century, the art and artefacts were
tions between politics and identity. company’s sale of tear gas canisters, apparently ble that the Liverpool Biennial can deliver much kept hidden from public view for almost 200
Across the West, particularly in the used on migrants at the US-Mexico border. of its original plan, when so much preparatory years; briefly made accessible to public viewers
English-speaking countries, museums have Indeed, this phenomenon has transformed time has been lost to public health restrictions in the sexually liberal 1960s, before being locked
recently come under renewed pressure to address many Western museums into instruments of the and public venues remain closed. Further north down again until finally (finally?) re-opened to
institutionalised racial inequality, in part since dominant class. Contrary to their foundation- in the UK, Glasgow International – Scotland’s the public in the year 2000. It’s fascinating to
the death of George Floyd at the hands of the al educational proposition, and ‘washed’ by the biennial festival of contemporary art – might be consider the calculation of those 18th-century
Minneapolis police in summer 2020. Key to this current rhetoric of public engagement, they have a shade luckier, having deferred their 2020 edi- archaeologists, who sought to protect their find-
process are social movements formed around a expressly been (re)designed to maintain cultural tion entirely to open in June this year. Liverpool, ings from the censure of the time; their faith in
critical mass – what the artist and writer Grego- hegemony, and thus are territories of exclusion Glasgow, here in Ireland, and further afield, the some future moment when the public value of
ry Sholette calls ‘dark matter’. Dark matter refers and privilege, in terms of both class and identity. gamble of last year’s decisions to postpone and the material would be redeemed in a society less
to the myriad under-recognised, undervalued art This connection to capital and a white, patriar- defer are beginning to return their results with reactionary than their own. The example of the
personnel, for instance lesser-known artists and chal, hetero and body/neurological-normative nerve-wracking uncertainty. Gabinetto Segreto attests to the different histor-
assistants whose invisible daily labour sustains ethos has inevitably resulted in the conversion There’s a paradox of choosing between the ical speeds that traffic the visibility of art and
the visible field of art. Their vast majority is the of the curator into a manager, whose practice limits of now and the possibility of later that cultural material, from original display, through
mirror image, the inverse, of the hyper-rich gal- is more a business than any sort of intellectual has been (and continues to be) faced by many catastrophe, excavation and all stages of mediat-
lerists, celebrity artists and globetrotter curators activity. organisations afforded the choice. In some cas- ed visibility in a gallery or museum.
of today’s star-system-like art sector. The hijacking of curation by the neoliberal es, this same paradox is being faced by artists In the first months of 2021, as various artistic
Sholette uses class analysis to explain the agenda removes its operations from the arena of themselves. Should they reorientate their plans programmes and projects slip forward and for-
exploitative nature of this system, highlighting knowledge, and it is thus fundamental to repo- for current conditions? Remote engagement, ward again in time, we need to be mindful about
the subalternisation of dark matter in econom- sition curating within an intellectual realm. To outdoor public access, bookable arts experi- what is being erased in the process and what
ic terms. The dark matter is the ‘99 percent’, to do this, the curator should look to Gramsci, who ences for micro-audience pods were some of cultural contemporaneity might really mean. As
paraphrase the slogan coined in the context of outlined the concept of the ‘organic intellectual’ the workaround examples that we saw happen organisations and as individuals, and as difficult
the Occupy movement in 2011, itself a reinven- to describe an individual’s role in the creation of under Level 2 and 3. Or should they postpone as that may be, the future might depend on it.
tion of the expression “one percent who own the a cultural counter-hegemony, by representing until the world is ready to receive their original
country”, by which author Gore Vidal referred the interests of socially excluded people – the 99 proposals? Should they defer further and further
to the wealthiest Americans. Using the iceberg percent. Such endeavour requires tackling cur- into the fantasy future, in the hope that it will
economic model put forward by scholar J. K. rent urgencies surrounding social justice, from eventually arrive? Or should they face the world Matt Packer is the Director of EVA Interna-
Gibson-Graham, the 99 percent corresponds to inequality to colonial legacies. Curating as an as it currently exists and not postpone at all, even tional.
the large, hidden part, and the 1 percent to the intellectual activity means aligning with those if it means fundamental changes to artistic and eva.ie
small tip. on the margins of society, and with them build- curatorial plans and the downscaling of public
In a 2011 essay, ‘L’1%, c’est moi’ (‘The 1%, ing an alternative to the political status quo. impacts and engagements?
it’s me’), the artist Andrea Fraser exposed the Although compromise is the most likely 1Peter Osborne, ‘Every other Year Is Always This Year
intricate relationships between major museums answer, this paradox of now or later (deferring – Contemporaneity and the Biennial Form’, in Making
and representatives of financial oligarchies, both the present to be redeemed in the future) is Biennials in Contemporary Times: Essays from the World
old and new. She pulled back the curtain on the Miguel Amado is a curator and critic, and increasingly profound, as we fall further and fur- Biennial Forum No. 2, (Brazil: Fundação Bienal São Paulo,
influence of members of hedge funds on insti- director of SIRIUS, Cobh, County Cork. ther out-of-sync with the time and place of art’s 2015) p35.
Visual Artists' News Sheet | March – April 2021
Columns 9
Plein Air Publishing
The Gentle Art of Tramping Parallel Studies
CORNELIUS BROWNE REFLECTS ON THE RELATIONS BETWEEN GRACE WILENTZ AND ÉILÍS MURPHY DISCUSS THEIR TWO-YEAR
ART AND WALKING. COLLABORATION, RESULTING IN AN ARTIST’S BOOK.
AS THE TREES bud and days grow milder, which often jogged memories of my first time
sometimes I set out with my easel and end up encountering art, when a school tour brought
walking more than painting. The presence of the me there to see the ROSC ’84 exhibition. The
painter in the landscape is the beating heart of artist who stopped me in my tracks was a walk-
plein air. Feet picking trails over rough ground, er. As a country boy on his first trip to a city,
shouldering and elbowing branches and thorny I was stunned that Richard Long had brought
stems, sinking into mires, climbing fences, side- the outdoors inside. Pre-internet, I struggled to
stepping thickets and wild ponds, panting uphill, find out more about Long, but did come across a
resisting gravity’s pull downhill, drenched one photograph of A Line Made by Walking, created
moment and the next blinded by sun, each step by walking back and forth across a field in Wilt-
binds me closer to the earth, disentangling from shire. I had recently begun painting outdoors,
anxiety and preoccupations until I find myself having run out of space in my bedroom, and this
walking free. encouraged me to begin viewing my walks as
Walkers cover the globe of the artmaking part of the artworks.
world. During the winter of 1705, the young J.S. I embarked on a solitary hill walk one spring
Bach walked 250 miles uphill through snow in day in the mid-1980s, which led me to a bus-
search of inspiration. Thomas De Quincey calcu- tling jumble sale. Obeying habit, I made a bee-
lated that, after a lifetime of poetic walking, Wil- line for its small trove of books. My dig through Grace Wilentz and Éilís Murphy, Parallel Studies, 2020, published by folded leaf; image courtesy the artists.
liam Wordsworth may have traversed 180,000 mouldering romances was rewarded with The
miles. Charles Dickens walked 12 miles per day Gentle Art of Tramping by Stephen Graham, ARTISTS’ BOOKS ARE the ideal medium for what is traditionally expected. This is just one of
around London, echoing these myriad peregri- published in 1927. This quaint guide to attire, the collaborative process. They cultivate an the many freedoms that comes with setting up
nations in his novels. Peripatetic art reaches its maps and campfires might have seemed odd in experimental interfolding of concept, material your own publishing press.
extreme in the work of Tehching Hsieh. Under- the hands of a spiky-haired post-punk teenager, and visual language in a form that is familiar The remainder of the collaborative workshop
taking One Year Performance (Outdoor Piece) in yet it opened my eyes to the subversive nature of yet open-ended. Parallel Studies is the fruition was spent creating mock-ups of the book – play-
1981-82, the artist lived for one year without walking: “you turn your back on civilisation and of a two-year collaboration between artist Éilís ing with structure, texture, paper and text; select-
entering any interiors, be it building or vehicle, most of what you learned in schools, museums, Murphy and poet Grace Wilentz. Published by ing materials in order to translate an idea fur-
despite the time frame encompassing one of the theatres, galleries.” The Jarrow March of 1936, Folded Leaf, Éilís’s publishing press, this artist’s ther, more slowly. Parallel Studies contains four
coldest New York winters on record. Hsieh was when 200 workers walked 300 miles from that book plays with the form of visual poetry, artic- types of paper: a slate-grey card, yellow carbon
only once called upon to step indoors, when he unemployment-stricken town to the seat of gov- ulating paper to create meditative spaces within paper, a rough white paper and a heavy translu-
was arrested for vagrancy. To create The Lovers ernment in London, entered my view also at this its structure. The book is an alternative accor- cent paper, each bringing its own tactile quality
(1988), Marina Abramovic and her partner Ulay time, and I realised that those who need to make dion, divided into three foldout sections with to this artist’s book. For instance, we chose the
undertook an epic walk towards each other from a stand must often walk. a pocket and bookmark at the back. A limited yellow carbon paper in the knowledge that it
opposite ends of the Great Wall of China, meet- A ramble serves as prelude each time I paint. edition of 75 was hand-bound and signed by the gets marked by use over time, leaving traces of
ing in the middle after 90 days and 1,200 miles. Boots are as important to me as easel and brush- duo. both the makers and previous readers, playing
Originally the couple had intended to marry es. Walking primes my mind, much as I prime The collaboration began as a playful experi- on our theme of time slowing down.
at this juncture, but instead they walked out of canvases. From the ground moving underfoot mentation in which we posted snippets of work, Following the workshop, Éilís designed and
each other’s lives forever. comes a grounding in freedom, abandon, unpre- in both 2D and 3D, to each other. There were laid out the book, creating a minimalist riso-
Shortly before I began working at IMMA dictability and sensuality. Moving on foot seems no constraints on form or material, and no pres- graph cover which helps mediate the book as a
in the mid-1990s, Abramovic exhibited pairs to make it easier to move in time; often I have sure to respond immediately. When a package space for reflection, pulling readers back into the
of amethyst shoes in the gallery, inviting view- the sense, as I begin painting, that all the selves arrived on the doorstep, it served as a stimulat- form, creating a flow of energy through the book.
ers to put them on and close their eyes. I still I have ever been are picking up the brush. There ing interruption to other work, causing you to Once the flat sheets were back from the printers,
remember the sensation of my feet being inside is a feeling of having travelled far to reach this stop and pause, steering your mind and creative we met up again to hand-bind the books togeth-
the earth. These shoes were made for walk- moment. Walking starts with an extreme aware- work in new directions. er. Binding books by hand is a very meditative
ing meditation, to heighten awareness of every ness of myself in the landscape and ends with an We gave ourselves time to discover and process with lots of time for contemplation and
step. Living in Dublin, I often found myself extreme awareness of myself in painting. respond to each other’s work, building upon it, conversation. We used this time as an opportu-
following the footsteps of Leopold Bloom, lit- rather than starting afresh. Over time, we creat- nity to plan the launch of Parallel Studies.
erature’s greatest trudger. During my years at ed a collection of small sculptures, prints, draw- The launch took place at the beginning of
IMMA, and earlier as a student at NCAD, I Cornelius Browne is a Donegal-based art- ings and texts, with several dominant themes September 2020, bringing people together for
walked twice daily past the Guinness Hop Store, ist. emerging. Towards the end of 2019, we met for a brief moment between lockdowns. We host-
a three-day workshop in Éilís’ studio in the Bur- ed a bookmaking and creative writing workshop
ren. We had no set idea of what the outcome which took place entirely outdoors in the envi-
would be; it was an exercise in being present and rons of the XPO, a creative and cultural space
setting aside preconceived ideas. We began by in Kilnaboy, County Clare. The 12 participants
discussing common strands that had unfolded sat under a huge sycamore tree and created their
through the postal exchange: time stretched or own handmade book, facilitated by Éilís. We
stopping, the shape of deltas and slowing the then went on a walk led by Grace, incorporating
body. writing exercises at several junctures, immersing
Using these as starting points, we ventured ourselves in absorbing and creating, filling our
outdoors, documenting our surroundings and books as we went. Our limited-edition book was
then used these explorations to further guide well received and has now sold out. The project
our editorial process. We discussed which poems was kindly funded by The Arts Council of Ire-
and artworks resonated with us both, expand- land and Clare County Council.
ing our body of collaborative work, rather than
editing back or reducing. This sense of collabo- Grace Wilentz is a poet and writer based in
rative ownership was essential to this project and The Liberties of Dublin. gracewilentz.com
subverts the traditional editor/author roles often Éilís Murphy is a visual artists and book-
found in publishing. It allowed us to use tech- binder living in Corofin, Co. Clare.
Cornnelius Browne, ‘Crossing a Field Near the Sea’, 2021 niques and formats that work for us, rather than eilismurphy.com
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