Author Archive

Paintings | Sinéad Ní Mhaonaigh | 02.07-25.07 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

Paintings…the third show by Sinéad Ní Mhaonaigh this year (after solo exhibitions in the Galway and Wexford Arts Centres), builds on an artistic practice as profound as it is prolific. Ní Mhaonaigh 2004 show Deoraíocht was loosely based on Padáic Ó Conaire’s ‘Scothscealtha’, in that it explored the spaces depicted in the stories, specifically spaces of exile, but since that time her most constant reference has been to her own work. So impressive is this body of work that, despite the fact she is only thirty-one years old, both her 2006 show Eatramh and her 2008 show Platform referenced paintings from her previous shows. This is not to say that her work has not evolved, but rather that she has remained true to the concerns notable since the beginning of her career – the exploration of luminal spaces, whether in space or time; the tensions between a spare, pared-down aesthetic and a love of often lush colour; and the exploration of painting as a philosophical and performative endeavour.
The tensions and even imbalances between the graphic and richly coloured areas of the works have a strong emotive charge that lends the spaces and voids a metaphorical dimension. The fact that the forms in her work can evoke vessels that resemble ancient curraghs or modernist architectural designs, suggests a celebration of multiple forms of abstraction which can reference history or look forward but are always current.
Catherine Leen
Irish Arts Review | Summer 2009

 

The Fall | Amanda Coogan | 25.06 2009

Written by Ingrid Lyons on . Posted in Exhibitions

Performance between 4 & 8 pm
Thursday 25th June 2009

Amanda Coogan is to the forefront of Live Performance Art in Ireland. The Fall, her new performance, commissioned by the Manchester International Festival will be shown in the gallery on Thursday 25th June
prior to her participation in the Marina Abramovic presents…exhibition at the Whitworth Gallery, Manchester.

Over a four hour duration the artist will fall/jump/leap/fly on to a mound of matresses, refferencing Yves Klein’s leap into the void, re-investing it with the matresses. This major new piece of work is a continuation of Coogan’s investigation into the presence of the artist as performer and the effect duration and endurance has on the energy of live work. Coogan will also be showing a selection of photographs of her performance work.

The centrality of Coogan’s practice is durational live performance where powerful live events are fundamental to her videos and photographs. Her expertise lies in her ability to condense an idea to its very essence and communicate it through her body.

She was awarded the AIB prize 2004. She has performed and exhibited her work both nationally and Internationally including The Venice Biennale 03, Liverpool Biennial 04, PS1, New York, Galeria Safia, Barcelona, RHA, Dublin, Van Gogh Museum, Amsterdam Asiatopia, Bangkok, Centre Culturel Irlandais, Paris and MARTa Museum, Herford and IMMA, Dublin. In 2005 Coogan published the first monograph on her practice, A brick in the handbag in conjunction with her solo show at Limerick City Gallery of Art.

 

ID&A | Dublin | 2009

Written by Ingrid Lyons on . Posted in Art Fairs

IMG_0017

The Kevin Kavanagh Gallery opened in 1999 at Great Strand Street in the centre of Dublin.

In September 2008 the Kevin Kavanagh Gallery will moved to a new 125 m²premises south of the river, designed by architect Philip Crowe of MCO Architecture, Dublin.

The gallery represents established Irish artists whilst actively supporting the work of emerging younger artists from Ireland and abroad.

 

Our Victory | Stephen Loughman | 29.05-20.06 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

 

 

As part of the In Conversation series, Stephen will be discussing his work with writer Stephen Walsh in the Gallery on Saturday 13 June at 12pm sharp.

In his latest show, Stephen Loughman again uses ‘screen-grabs’ from films as his source material – predominantly those set during WWII.  Together, the works act as a pseudo-narrative of a conflict, but when they piggyback on the existing storylines of the films they reference, their meaning becomes blurred.  By mixing these images with those based on a variety of non-military documentary sources the combination of “real” and film (myth) creates a skewed narrative – one which calls into question the linear, prejudiced reading of a history.

Stephen Loughman, born 1964, lives and works in Dublin.  He studied at the National College of Art & Design, Dublin, 1982–1987. Solo shows include: The Lake, Kevin Kavanagh, 2006; Stephen Loughman, 26th Sao Paulo Bienal, Brazil, 2004 (selected by Valerie Connor, Irish Commissioner); Acvariu, Kevin Kavanagh, 2003; 2C Langdale Rd BN3 4HN, Kevin Kavanagh, 2001; New Paintings, Kevin Kavanagh, 2000. Group shows since 1999 include: Stephen Loughman and Mark O’Kelly, Galway Arts Centre, Ireland, 2007; Contemporary Art from Ireland, European Central Bank, Frankfurt, 2005; New Territories, ARCO ’05, Madrid, 2005 (curated by Enrique Juncosa); En direct de Dublin, Centre Culturel Irlandais, Paris, 2003 (curated by Helen Carey); See it as it is, Draiocht, Blanchardstown, Dublin, 2001; Perspective 2000, Ormeau Baths Gallery, Belfast, 2000 (selected by Lynne Cooke); EV+A 99, Limerick City Art Gallery, Ireland, 1999 (selected Jeanne Greenberg Rohatyn).  He has received numerous Arts Council of Ireland bursaries and his work is in public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland & The Office of Public Works and private collections in Ireland, UK and Spain.

 

Perfect Near Miss | Diana Copperwhite | 30.04-23.05 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

Diana Copperwhite was born in Ireland in 1969. She studied Fine Art Painting at Limerick School of Art & Design and the National College of Art and Design, Dublin. She completed her MFA at Winchester School of Art, Barcelona in 2000.

She has exhibited widely in Ireland and abroad and has had solo exhibitions at Kevin Kavanagh (2005, 2006, 2009); Limerick City Gallery of Art (2007); Rubicon Gallery (1998) and Temple Bar Gallery (1996). Group shows have included Group Therapy, Kevin Kavanagh (2008); Martin Gale Selects, Fenton Gallery (2008); Other Visions (curated by Aidan Dunne), Purdy Hicks, London (2007); Presence (curated by Michael Fitzpatrick), Limerick City Gallery of Art (2007); From the Liberties to Parramatta, University of Western Sydney (2005); EV+A (curated by Jeanne Greenberg Rohatyn), Limerick City Gallery of Art (1999).

In 2007, she was the winner of the 2007 AIB Art Prize. In 2008, she was a finalist in the Guasch Coranty Fundació Painting Prize, Centre Cultural Metropolità Tecla Sala, Barcelona.

In 2008, she completed a Project Residency at Temple Bar Gallery and Studios and was elected ARHA by the Royal Hibernian Gallery in Dublin. Her work is in public and private collections including: Allied Irish Bank, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery and Mariehamn Stadbiblioteque, Finland.
Upcoming exhibitions include the group show Multiples:Papier (curated by Michael Woolworth & Daniel Clarke), Francois Besson, Lyon, France in 2009 and solo shows at Fenton Gallery, Cork and KraskaEckstein, Bremen, Germany in 2010.
Diana is a lecturer at the National College of Art, Dublin.

 

Art Cologne |2009

Written by Ingrid Lyons on . Posted in Art Fairs

Ulrich Vogl | Diana Copperwhite | Stephen Loughman | Tadhg McSweeney

Art Cologne || Stand 42

22 – 26 April 2009

 

 

Diana Copperwhite was born in Ireland in 1969.  She Studied at The Limerick School of Art and Design; National College of Art, Dublin and Winchester School of Art, Barcelona where she completed her MFA in 2000.  She currently lectures at The National College of Art, Dublin.  She has exhibited widely.  Recent group shows include: Guasch Coranty painting prize Tecla Sala, Barcelona; Purdy Hicks Gallery, London; Kevin Kavanagh, Dublin; Fenton Gallery, Cork; Limerick City Gallery.  She has had solo shows at Kevin Kavanagh Gallery, Dublin; Temple Bar Gallery, Dublin; Rubicon Gallery, Dublin; Limerick City Gallery.  She has received many awards, including the 2007 AIB Prize and was a finalist in the 2008 International Painting Prize, Guasch Coranty Fundacio, Barcelona.  In 2008 she completed a Project Residency at Temple Bar Gallery and Studios and was elected ARHA.  Her work is in public and private collections including: Allied Irish Banks, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Highlanes Municipal Art Gallery and  Mariehamn Stadbiblioteque, Finland.  Forthcoming solo shows include: KraskaEckstein, Bremen and Françoise Besson, Lyon, France.

Tadhg McSweeney, born Sligo, Ireland, 1978, lives and works in Dubin. Solo Exhibitions: Overworld, The Lab, Dublin, 2008; What Remains, Sligo Art Gallery, Ireland, 2007; Break-in at the museum and other paintings, Kevin Kavanagh, 2006; New Paintings, Kevin Kavanagh, 2004.  Group Exhibitions include: Group Therapy, Kevin Kavanagh, 2008; The BiG Store, Temple Bar Gallery & Studios, Dublin, 2007; Thirty Two Thousand Years Later, Pallas Contemporary Projects, Dublin, 2007; Iveagh Rooms, This is not a shop, Dublin, 2007; 7 Irish Artists, Load of Fun Gallery, Baltimore, USA, 2006; Invited Artist, Eigse, Carlow, Ireland, 2005.  In 2007, he undertook a one year residency at Red Stables, St. Anne’s Park, Dublin.  His work is in private and public collections in Ireland and Europe.

Stephen Loughman, born 1964, lives and works in Dublin.  He studied at the National College of Art & Design, Dublin, 1982–1987.  Solo shows include: The Lake, Kevin Kavanagh, 2006; Stephen Loughman, 26th Sao Paulo Bienal, Brazil, 2004 (Selected by Valerie Connor, Irish Commissioner); Acvariu, Kevin Kavanagh, 2003; 2C Langdale Rd BN3 4HN, Kevin Kavanagh, 2001; New Paintings, Kevin Kavanagh, 2000.  Group shows since 1999 include: Group Therapy, Kevin Kavanagh, 2008; Stephen Loughman and Mark O’Kelly, Galway Arts Centre, Ireland, 2007; Contemporary Art from Ireland, European Central Bank, Frankfurt, 2005; New Territories, ARCO ’05, Madrid, 2005 (Curated by Enrique Juncosa, Director Irish Museum Modern Art); En direct de Dublin, Centre Culturel Irlandais, Paris, 2003; See it as it is, Draiocht, Blanchardstown, Dublin, 2001; Perspective 2000, Ormeau Baths Gallery, Belfast, 2000 (Selected by Lynne Cooke, Curator, Dia Centre for the Arts, New York); EV+A 99, Limerick City Art Gallery, Limerick, Ireland, 1999 (Selected by curator Jeanne Greenberg Rohatyn).  He has received numerous Arts Council of Ireland bursaries and his work is in public collections, including: Irish Museum of Modern Art, The Arts Council of Ireland, AXA Insurance & The Office of Public Works and private collections in Ireland, UK and Spain.His next solo show is Our Victory, Kevin Kavanagh, May-June 2009.

Ulrich Vogl lives and works in Berlin. He has recently been an artist in residence at the Irish Museum of Modern Art, where he exhibited in the Process Room.  He has also received a PARC del Ministero dei Beni Culturali scholarship, for his residency at Viafarini, Milan.Solo exhibitions  include: Gipfelstűrmer, Kevin Kavanagh, 2009; Ulrich Vogl, Dunamaise Arts Centre, Laois, Ireland; Ulrich Vogl / Benjamin Greber, Viafarini, Milan, 2008; Premiere, KraskaEckstein, Bremen, 2007 and Goldgräber, Kevin Kavanagh, 2006.Selected group exhibitions include: Group Therapy, Kevin Kavanagh, 2008; Villa Grisebach, Berlin, 2008; wohnen, sitzen, glauben, Kunstverein Regensburg, 2008; Better is Something You Build, Kevin Kavanagh, 2008; Windkanal, toilette 27, Berlin, 2007; s/w, bell street project space, Vienna, 2006; and Micro Universe, The Lab Gallery, New York, 2005.His work is in private and public collections in Ireland and Europe.

Blimp on the Horizon | Robert Armstrong | 02.04-25.04 2009

Written by Ingrid Lyons on . Posted in Exhibitions

Blimp on the Horizon

02 April 2009 – 25 April 2009

A public conversation between the artist and the critic Aidan Dunne will take place in the gallery Wednesday 8 April, 6.30pm sharp.
The In Conversation series is organised by Elaine Byrne

The floor, benches and tables in Robert Armstrong’s studio are stacked with books. One on Giotto, who lived between 1267 and 1337, carries the sub-title The Renewal of Painting. Most are about the usual suspects of early Renaissance Italian painting; a chunky volume on Sienese Painting, Pope-Hennessy on Piero della Francesca, Aldous Huxley’s Best Picture, ransacked collections of Fra Angelico. The books are stuffed with torn slips, Google images, Post-its and paper windows that mask details and fragments. From San Marco there’s a resurrection cloud. An oil refinery burns off gas, the ‘grace’ of the stigmata arrives, Saint Francis departs. A comet, Tuscan hilltops, telecommunication towers, the N11.
The scuffed books, the scraps of newspaper and the internet search histories are linked in some way to the paintings that line the walls, yet distinct from them: a psychological profile, standalone evidence of what looks like indiscriminate enquiry.
The paintings themselves bear forensic examination. The surfaces range from the velvety smooth to the brutally battered. A towel, originally used for cleaning up, is presented for examination. Skin is scored, abraded and patched-up. Brushes have been used to spread and to soften, to reveal. Marks have been left by unknown instruments – soft, sharp or blunt. Attempts have been made to mislead and cover up.
Sassetta was here. Lorenzetti’s Effects of Good Government in the Town and Countryside is not here. Mining in Barentsberg is here. Nietzsche’s mountaintops. Squat buildings. Blimps on the horizon.
Robert Armstrong is a founder member of Temple Bar Gallery & Studios, Dublin. In 2002 he became the head of painting at the National College of Art & Design, where he has lectured since 1991. Born 1953 in Gorey, Co. Wexford, he lives and works in Dublin.

Recent exhibitions include: Look Again: Recent Art from Ireland, selected by Aidan Dunne, Purdy Hicks, London, 2009; Winter Salon, Temple Bar Gallery, Dublin, 2008; Afterimages, Kevin Kavanagh, Dublin, 2007(solo); Fenton Gallery, Cork, 2007 (solo); The Big Store, Temple Bar Gallery, Dublin, 2007; A Moment In Time, Temple Bar Gallery, Dublin, 2006.

 

Gipfelstürmer | Ulrich Vogl | 05.03-28.03 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

 

Ulrich Vogl is a draftsman – a draftsman however, whose aim it is to project the art of drawing into other spheres.He deploys versatile techniques in order to emancipate the medium of drawing from its traditional boundaries. While Vogl’s overall theme would be the “extension of drawing”, his focus of the past three years has been on “drawing & light”, working with shadows, reflections and movement, such as his reverse painting on glass drawings.
Gipfelstürmer sees the artist as mountaineer (roughly translating to ‘one who masters a peak or goal’).At such imagined heights, nature’s influence becomes clearer, the views – of mountains, clouds and sea – less unobstructed.There are no shadows on the summit.

Ulrich Vogl lives and works in Berlin and has just recently been an artist in residence at the Irish Museum of Modern Art, where he exhibited in the Process Room.
Solo exhibitions include: Ulrich Vogl, Benjamin Greber, Viafarini, Milan, 2008, Premiere, KrasakaEckstein, Bremen, 2007 and Goldgräber, Kevin Kavanagh, Dublin, 2006.

Selected group exhibitions include: Villa Grisebach, Berlin, 2008, wohnen, sitzen, glauben, Kunstverein Regensburg, 2008; Better is Something you Build, Kevin Kavanagh, Dublin 2008, Windkanal, toilette 27, Berlin, 2007; s/w, bell street project space, Vienna, 2006; and Micro Universe, The Lab Gallery, New York, 2005.

The Garden | Margaret Corcoran | 05.02-28.02 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

Margaret Corcoran enters the landscape.  Bold brushwork, strong colours, expressive marks describe and celebrate being.

Flower gardens, cherry blossoms, castles, real but exotics locations allow a play of expectations, where we both enjoy and question what we are seeing.  Moreover, the way paint is applied prevents any simple reading of the work as representations of the surroundings they portray.

The Garden is Margaret Corcoran’s fifth solo exhibition with Kevin Kavanagh Gallery.  She lives and works in Dublin.

Gary Coyle – At Sea

Written by Ingrid Lyons on . Posted in Publications

02_ADS_Coyle_AtSea_Cover

Text: Patrick T. Murphy, Christa-Maria Lerm Hayes & Maeve Connolly
Design: Atelier
Photography: Gary Coyle and Paul McCarthy
Printed by : 1455 Fine Art printers, Belgium
Edition of 750
inclusive of limited edition of 100 copies, with original signed print
ISBN 978-0-9560538-0-0
Published by Kevin Kavanagh (2010)

Ugly Lovely | Nevan Lahart | 08.01-31.01 2009

Written by Ingrid Lyons on . Posted in Exhibitions

 

Blah Blah Blah
Circumventing the narrative
Gobble-d-gook, Gobble-d-gook,
non linguistic forms of
Yady, Yady, Ya.
active forces that
Blah Blah’s
subjective subliminal perception
yiddy, yiddy, ya
Contextualises the context of underlying structures
That navigate empathetic analoguious analogues
Ummmm…………………………………………………………………………Interesting
Put simply, Nevan won’t stray too far from flowers.

Nevan Lahart lives and works in Dublin.

Group Therapy | 28.11-23.12 2008

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Michael Boran| Mark O’Kelly | Oliver Comerford | Mark Swords | Sinéad Ní Mhaonaigh | Tadhg McSweeney | Diana Copperwhite | Geraldine O’Neill | Stephen Loughman | Ulrich Vogl | Mick O’Dea| Karin Brunnermeier | Gary Coyle

PREVIEW Berlin | Karin Brunnermeier | 2008

Written by Ingrid Lyons on . Posted in Art Fairs

Karin Brunnermeier | Booth B24

Preview Berlin | 30 October – 2 November 2008

The sculptures, installations and drawings of Karin Brunnermeier could be seen as a series of intricate portraits. Brunnermeier’s characters and the stories that she creates around them, are based on the real and imagined and are central to the understanding of her work. Sometimes darkly humourous, melancholic, surreal or symbolic, her interest is in the human psyche and moments of ‘fracture’, where injuries, both physical and emotional occur. Essentially a storyteller, the materials that Brunnermeier uses in her sculptures inform the narratives which she constructs. Materials are chosen for their symbolic potential as well as aesthetic form. In her 2004 work Sledge, she cast a sledge in glass to tell a story of immobility, whilst recent works have combined hoops constructed from steel with children’s clothing once worn by Brunnermeier and her brother, connecting her own history with that of the invented and imagined. The dichotomous nature of the clown, with its ability to convey humour and pathos, has become a recent focus in her work. In the first of her ring clown sculptures Hansi-Nummer (2007) the character Hansi has come to a sorry end after being squashed by a giant steel turquoise hoop. The soft bodied clown, made from fabric and children’s clothes and dwarfed by the scale of the enormous hoop, is a pitiful figure – did he try to balance the hoop on his head in an attempt to impress the crowd or has Hansi sacrificed himself for the sake of a punch line? Another character finds himself in equally dire straits in the sculpture Charlie (Ring Clown) (2007). A hoop is threaded through the neckline of his jumper, his arms replaced by the hoop itself, holding him in an inescapable situation. The implied motion that comes with these works – perhaps Hansi will peel himself off the floor and dust himself down, or Charlie will desperately rock from side to side in an attempt to escape – add to the slapstick but also to the desperateness of their situation. Brunnermeier is a sharp observer of human frailties, and when we laugh at her character’s situations, it is tempered by a sense of self recognition. Her works hold up a mirror to ourselves and the knocks in life that we all experience.

 

Jacqui McIntosh, 2008

 

 

Mark O’Kelly | 23.09-22.11 2009

Written by Ingrid Lyons on . Posted in Exhibitions

October 23 – November 22, 2008

Mark O’Kelly is showing a collection of paintings, collages and archives at the Kevin Kavanagh Gallery in Dublin.
This exhibition marks a new direction in Mark O’Kelly’s practice, these works on paper offer original insight into O’Kelly’s conceptual practice as an artist. The show includes a trilogy of installed vitrine pieces, providing context for his extensive process of assimilation and deconstruction of printed material; including source, written and drawn archives.
In this work, O’Kelly describes a research process that posits the importance of artistic action over the myth of the construction of a definitive image of contemporary culture. Through the presentation of cuts and slices of mediated imagery, his practice demonstrates the abundance of inherently editorial content ubiquitous in an image saturated and conscious society. Focusing exclusively on human form, O’Kelly presents bodies, poses and relationships that appear wholly recognizable while remaining equally enigmatic and ephemeral.
O’Kelly’s subject in question becomes one of how the individual consumes, relates to, and is defined by their relationship to the human form of others. In provoking the viewer’s reaction to choices of form and space and employing codified motifs of gendered, racial and socio-economic weight, the show investigates the proposition of media space as an appropriate location for public discourse. This emptying out of over determined content and style provides a pared back glimpse of the construction of the mediated visual dialogues which have dominated popular discourse since the invention of photography.
Through his extensive denuding of his printed source material, O’Kelly constructs a collection of visual epigrams which enunciate the pleasures of form, content and interpretation. In a collection which uses acts of painted gesture and inflection to execute rhyming figurative ideograms, the constituent parts of each work can both stand-in, and contribute to, the wider narrative project.
The presentation of elements of Mark O’Kelly’s archive continues a contextualization of his research, previously installed at the Limerick City Gallery of Art (2005)* and at The Cultural Foundation of the National Bank of Greece(2008)**, through printed reproduction in the Printed Project Issue No.5 (ed. Alan Phelan, 2005) and Selective Knowledge, The Institute for Contemporary Art and Thought, Athens, Greece (ed. Els Hanappe, 2008).
* Caged Archive, in collaboration with Sarah Pierce 2005, curated by Mike Fitzpatrick.
** Selective Knowledge, curated by Els Hanappe 2008

 

Geraldine O’Neill – Luan an tSleibhe

Written by Ingrid Lyons on . Posted in Publications, Uncategorized

Geraldine-o-neill2 October – 22 November 2008
Draoicht, Blanchardstown, Ireland

Text: Brian Maguire & Medb Ruane
Design & Production: Tom Feehan
Photography: Vincent Lestienne, Ronan McCrea, Jaqui McIntosh
Edition of 750
ISBN 978-0-9555164-9-8
Published by Kevin Kavanagh (2008)

The world needs a narrative | Group Show | 26.09-18.10 2009

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Kevin Kavanagh is pleased to present The world needs a narrative, a group exhibition featuring Karin Brunnermeier, Henry Darger, Neil Farber, Tony Fitzpatrick, Michael Kalmbach, Basim Magdy, Jason McLean, Guy Richards Smit and Ken Solomon.

The world needs a narrative features works on paper by nine artists for whom the art of storytelling is central. The stories that they recount are varied – from autobiographical, psychological and fantastical modern day fables to sociological commentary and political satire.
Karin Brunnermeier’s drawings, sculptures and installations could be viewed as a series of intricate portraits. Brunnermeier’s characters and the stories that she creates around them, are based on the real and imagined and are central to the understanding of her work. Sometimes darkly humourous, melancholic, surreal or symbolic, her interest is in the human psyche and moments of ‘fracture’, where injuries, both physical and emotional occur.
Henry Darger was born in Chicago in 1892. Darger lived a solitary life, working as a janitor in a Chicago hospital from around the age of thirty until his retirement in 1963. During this time Darger created the work for which he is now known. Alone in his room, unknown to those around him, he gave tangible, visible form to an epic story of legions of pre-pubescent girls—with paper-doll faces and unexpected male organs—who battle for their lives against monstrous foes who seek to torture, kill or exploit them. This, his magnum opus, is commonly referred to as In the Realms of the Unreal, although Darger’s actual title is The Story of the Vivian Girls, in what is known as the Realms of the Unreal, of the Glandeco-Angelininian War Storm, Caused by the Child Slave Rebellion, and spans over 15,000 single-spaced typewritten pages. This expansive, complex narrative together with over 300 imaginatively constructed fantasy drawings have come to be regarded as one of the 20th century’s most original and unusual literary works.

Neil Farber´s surreal, obscure imagery with its varicoloured overpopulation of tiny people, frogs, rats, snakes, captured maidens, dragons, cats and ghosts belongs on the border line between childhood fear and grown-up fantasy and act as the basis for a dramatic description of the darker aspects of the human psyche. Aspects, which are disturbing and upsetting – perhaps even nightmarishly evil – but nonetheless serve as an integrated part of our identity.

Tony Fitzpatrick’s prints, drawings and collages are deeply autobiographical, defined, in part, by the gritty character of a working-class Chicago upbringing. His style is both dense and delicate, packed with fanciful imagery of animals and people. Fitzpatrick’s art typically blends cartoon-like drawings and found images such as baseball cards and matchbooks with poetic or narrative description. His stories, sometimes real sometimes imagined, involve monsters, call girls and gamblers – monsters, madness and vice – “the stuff they don’t put in the travel brochures” according to Fitzpatrick.

Michael Kalmbach’s watercolours and plaster sculptures have focused on the themes of family and childhood. Based on detailed original stories, his watercolours are populated with children and cherubs in dream-like states of weightlessness. Kalmbach’s picture worlds are anarchic and often politically incorrect, the more so since his protagonists are often children. But the fantasies which he realises in his pictures, sculptures and installations closely resemble those of children, growing up freely, filled with curiosity, tenderness but also cruelty.

Basim Magdy works with imagery derived from the mass media – images of conflict from TV, films, computer games and propaganda and the like- translating them, and finally reinterpreting them via the painting medium. Magdy’s generation never experienced war directly, instead growing up amidst naïve surrogates: violent toys – guns, knives, robots, tanks, soldiers, and computer games abound. Magdy capitalizes on the media-driven language, translating its imagery into contrived, attractive paintings, using a hyper-real aesthetic replete with bright, synthetic colours and simplistic motifs. He uses paint to question and redefine official versions of heroism, patriotism and collective memory.

The drawings of Vancouver based artist Jason McLean are heavily punctuated by humour, slogans and references to the mundane but specific details of everyday life. His frank impressions invite audiences to reconsider everyday experience as a dense psychological construct that unfolds over time and cannot be reduced to a single iconic image. His works could be seen to represent a mental space where the artist re-elaborates the flow of information which lays siege to us every day, a map of the neighbourhood as an urban space in flux.

Guy Richards Smit’s latest works create a stream of current political commentary, sexual innuendo and satire. As part of a larger ongoing series, Smit uses the layout of the cover and inside pages of The New York Times as the template for his watercolours and oils. Through headlines and article topics, Smit conveys his sharply observant cultural and political message. In these new works, Smit has directed his gaze firmly at the American political scene, his works undercut with philosophical observations and humour.

Ken Solomon’s recent work has explored the imagery and iconography of the U.S. postal system. At VOLTA NY 2008 Solomon set up an early voting bureau for the US Presidential elections, creating his own hand painted stamps of the Democratic and Republican nominees Barack Obama, Hillary Clinton, Mike Huckabee, John McCain, and Ralph Nader. He subsequently printed hundreds of sheets of stamps for the public to cast their vote. A meshing of mathematics and whimsy, for his envelope art works he uses an intensive process, pushing repetition to examine nuance. When each piece is finally complete the envelopes are subsequently mailed and disseminated to reconvene at the gallery, in certain instances having been on a long journey though the intricacies and idiosyncrasies of the US postal system. Solomon plays precise control and uncertainty together, allowing for third party mark making (the stamps, stickers or marker lines added by the post office) and the possibility of works getting lost. Each piece has its own special journey and individual story.

Solo Project | Basel | Gary Coyle |2008

Written by Ingrid Lyons on . Posted in Art Fairs

Kevin Kavanagh is pleased to present Gary Coyle;

In the past Gary Coyle has made charcoal drawings based on photographs of crime scenes, mug shots of convicted killers, sets of pornographic films and images culled from the contemporary mediascape. His images are dispassionately and precisely transcribed from their sources. The effect is forensic and downbeat, hyperreal rather than real as the distinction between reality and image becomes effaced. At its core, the fascination with violent crime that Coyle explores is ambivalent and voyeuristic.

In his recent exhibition Southside Gothic (2007) Coyle explored his fascination with death, Gothic and the sublime via his local environment of Dun Laoghaire, 7 miles south of Dublin. Over the past decade Coyle has continually explored his hometown via a variety of means including drawing, photography and performance. Since the summer of 1999 he has almost swam daily in the Irish Sea at Sandycove (beside the Martello tower which houses The James Joyce museum and where Ulysses begins). In a performance/ ritual he documents his swims using a waterproof camera, found objects, maps and notebooks.

Since 2000 Coyle has photographed places in Dun Laoghaire, mostly to do with death, and has written stories to accompany them. These images and texts eventually became Death in Dun Laoghaire – a slide show/ performance/ publication for which he received an Irish Arts Council Projects Grant and performed during the Dublin Fringe Festival in 2005 and again in 2006. In Death in Dun Laoghaire Coyle combined many of the themes and subjects he has explored in previous exhibitions such as crime scene photographs, the urban landscape and an interest in the every day and local.

Gary Coyle is a graduate of NCAD and the RCA London. Recent solo shows include Southside Gothic at Kevin Kavanagh Gallery (2007), Death in Dun Laoghaire performed at Project Arts Centre, Dublin (2006), The Wild Wild Wood (2004), The Floating World (2002), and Ad Marginem (2000). He has received various awards including Visual Arts Bursaries from the Arts Council of Ireland, 2005, 2003, 2001, & 1998, Ballinglen Fellowship 2003, Artists Work Programme IMMA 1997-8, The RHA annual drawing prize 1999 and 2007 and a Henry Moore Foundation Fellowship in 1995. Coyle is currently working on an Arts Council of Ireland/ Project Arts Centre commission to write and present a performance based around his daily swimming ritual which will be presented to the public in October 2008. In 2010 Coyle will have a major solo exhibition at the Royal Hibernian Academy, Dublin.

 

ID&A | Dublin | 2008

Written by Ingrid Lyons on . Posted in Art Fairs

The Kevin Kavanagh Gallery opened in 1999 at its current location in Great Strand Street in the centre of Dublin. The Gallery is currently housed in a converted industrial space north of the River Liffey.

During the summer of 2008 the Kevin Kavanagh Gallery will move to a new 125 m²premises south of the river, designed by architect Philip Crowe of MCO Architecture, Dublin.

The gallery represents established Irish artists whilst actively supporting the work of emerging younger artists from Ireland and abroad.

 

Art Cologne | 2008

Written by Ingrid Lyons on . Posted in Art Fairs

Robert Armstrong|Karin Brunnermeier | Sinéad Ní Mhaonaigh | Mark O’Kelly | Mark Swords | Ulrich Vogl

16 – 20 April 2008

 

 

 

Michael Boran -Voyager

Written by Ingrid Lyons on . Posted in Publications

Front-Cover06 March – 29 March 2008

Text: Caoimhin Mac Giolla Leith
Design & Production: Tom Feehan
Printing & Reproduction : Rosbeek, Netherlands
Edition of 1000
ISBN 978-0-9555164-6-7
Published by Kevin Kavanagh (2008)

 

 

 

 

 

 

 

Better is something you Build

Written by Ingrid Lyons on . Posted in Publications

Better-is-something-you-buildCurated by Jacqui McIntosh

7 February – 1 March 2008

Text: Jacqui McIntosh
Design: Tom Feehan
Photography: Jacqui McIntosh
Printing & Reproduction: Rosbeek, Netherlands
Edition of 1000
ISBN 978-0-9555164-7-4
Published by Kevin Kavanagh

ARCO | Madrid | 2008

Written by Ingrid Lyons on . Posted in Art Fairs

Diana Copperwhite | Michael Boran | Stephen Loughman

Arco, Madrid || Stand A40.F34

The Kevin Kavanagh Gallery opened in 1999 at its current location in Great Strand Street in the centre of Dublin. The Gallery is housed in a converted industrial space north of the River Liffey. Over the past 8 years, Kevin Kavanagh Gallery has established itself as a leading Irish commercial gallery. The gallery represents established Irish artists whilst actively supporting the work of emerging younger artists from Ireland and abroad

For more information please click for Arco Catalogue
 

AQUA | Miami | 2007

Written by Ingrid Lyons on . Posted in Art Fairs

Mark-Swords_Head-&-Collage_-Installation-Shot-at-Kevin-Kavanagh

Diana Copperwhite | Mark Swords | Mark Kelly

Aqua Miami || 4 – 9 December 2007 || Booth 4

The Kevin Kavanagh Gallery opened in 1999 at its current location in Great Strand Street in the centre of Dublin. The Gallery is housed in a converted industrial space north of the River Liffey. Over the past 9 years, Kevin Kavanagh Gallery has established itself as a leading Irish commercial gallery. The gallery represents established Irish artists whilst actively supporting the work of emerging younger artists from Ireland and abroad.

Stephen Loughman & Mark O’Kelly

Written by Ingrid Lyons on . Posted in Publications

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07 December 2007 –  26 January 2008
Galway Arts Centre,Ireland

Text: Hugo Hamilton, Maeve Mulrennan
Design: Neil Gurry
Photography: Vincent Lestienne, Paul McCarthy
Printing & Reproduction: Drukkerij Rosbeek
Edition of 1000
ISBN 978-0-9555164-5-0
Published by Kevin Kavanagh (2007)

ART Projects | London | 2007

Written by Ingrid Lyons on . Posted in Art Fairs

Robert Armstrong | Michael Boran | Gemma Browne | Oliver Comerford |Diana Copperwhite | Margaret Corcoran | Gary Coyle | Nevan Lahart | Stephen Loughman | Bongi MacDermott | Tadhg McSweeney | Sinéad Ní Mhaonaigh | Mark O’Kelly | Geraldine O’Neill | Amy O’Riordan |David Quinn | Dermot Seymour | Mark Swords | Ulrich Vogl

Art Projects, London – 2007

Art Projects returns for its second year showcasing 58 international galleries set in the historic building of County Hall. Inviting galleries from over 11 countries with a non hierarchical policy and curatorial freedom galleries from over eleven countries will be exhibiting young and established artists, housed in the Edwardian oak anelled rooms over looking the river Thames and Houses of Parliament.

 

County Hall, Westminster Bridge

11 – 14  October 2007

 

 

 

Tadhg Mc Sweeney – What Remains

Written by Ingrid Lyons on . Posted in Publications

What-Remains-(Complete26

Sligo Art Gallery
October – 24 November 2007

Text:Aidan Dunne
Design:Tom Feehan at Dynamite
Photography:Tadhg Mc Sweeney
Edition of 750
ISBN 978-0-9555164-8-1
Published by Kevin Kavanagh

 

 

 

 

 

 

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Edifice Complex

Tadhg McSweeney
2 February- 21 April 2013
Text: Eamonn Maxwell,Aidan Dunne, Emma Lucy O’Brien and Carissa Farrell

Intreview: Eamonn Maxwell and Tadhg McSweeney

Photography:Tadhg Mc Sweeney and Ros Kavanagh
Edition of 500
ISBN 978-1-907537-09-7

Published by VISUAL Centre for Contemporary Art

Docks Art Fair | Lyon | Nevan Lahart |2007

Written by Ingrid Lyons on . Posted in Art Fairs

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Nevan Lahart | Booth C8

Docks, Lyon |17 – 23 September 2007

Nevan Lahart works in a wide variety of media, often using humble and cheap materials to create expansive installations. The subject matter of his work revolves around a critical, satirical and often humorous commentary on current affairs, television, the media, social and political perceptions and the history of art delivered in an unflinching, often confrontational tongue-in-cheek manner.

For more information please click for Catalogue