is proud to present Joyful
Mysteries an exhibition of new paintings by David Quinn.
Joyful Mysteries – Quinn’s first solo exhibition in almost 10 years, comprises a contemplative tone poem of paintings set in a world of crystalline light and detachment.
As often with Quinn the point of departure is the porous interface between us and everything we feel that is not us. Light, land, water, flesh; all made of the same stuff – as we always knew it was, but never quite felt to be true.
Presenting a catalogue of quietly charged moments and events; each painting’s surface becomes an instrument of almost binary measurements. Value is noted and assigned literally point by point; fields of nodes drilled directly into the panels create woodblock-like surfaces which underpin the enclosed intimacies depicted. At times re-imagining art-historical tropes, meaning and pictorial significance is explored and delighted in. These are paintings as shifting substrates, accepting and activating the projections and values we as viewers assign, playing a little with our expectations while holding to the light the moment in question – which as ever, is at once familiar and unknowable.
David Quinn is an artist living and working in Mayo. He graduated with a BA in Fine Art from the National College of Art and Design in 1991.
Quinn has a longstanding relationship with Kevin Kavanagh. He has exhibited six solo shows at the gallery, most recently Hungry Rock (2010), and participated in numerous group shows. Quinn has shown work in institutions country-wide, including the Fenton Gallery, Cork (2007), the Hamilton Galery, Sligo (2011) and the RHA, Dublin (2004, 2017). His work has also been exhibited internationally in Glasgow (Leabhair Mor na, 2003) and Tallahasse(Works on Paper, LeMoyne Art Foundation, 2003).
Quinn was the recipient of the Royal Dublin Society Taylor Art Award in 1991 and the Golden Fleece Merit Award in 2007. Public collections include the Irish Museum of Modern Art, Irish Embassy Washington D.C, the European Parliament (Brussels) and the Office of Public Works.
The Glebe Gallery / Office of Public Works in association with RTÉ & Earagail Arts Festival presents ‘21st Century Ireland in 21 Artworks’ at Glebe House and Gallery, Donegal. The exhibition is curated by Cristín Leach and looks at the island of Ireland since the turn of the century. All the artworks included in this exhibition were made in Ireland, about Ireland, and by Irish artists since 2000.
There are paintings, photographs, video works, sculptures, performances, and installations about home, money, bodies, risk, mental health, society, politics and more.
The exhibition opens Sunday 14th July at 3pm and runs until Sunday 1st September (Daily).
For more information see: http://www.eaf.ie/events/21st-century-ireland-in-21-artworks/
Elaine Byrne and Mick O’Dea are amongst the artists included in ‘Oidhreacht: Transforming Tradition’, opening Saturday the 13th July at the Highlanes Gallery Drogheda.
The exhibition will bring together a range of artworks from the 18th century to the contemporary moment exploring Irish traditional arts & culture. It will include diverse examples, some familiar, many not shown for some time, and will offer a sense of the wide range of representations and expressions of Irish traditional arts & culture in visual art and material culture both in historic and contemporary art.
Featuring; Jack Butler Yeats, Frederick William Burton, Elaine Byrne, George Campbell, John Cassidy, Simon Coleman, Ara Devine, Gerard Dillon, Laurence Fagan, Mike Fitzpatrick, Trevor Thomas Fowler, Joseph Patrick Haverty, Grace Henry, Paul Henry, James Humbert Craig, Seán Keating, Daniel Maclise, Philip Napier, Mick O’Dea, Alanna O’Kelly, George Petrie, Nano Reid, and Elizabeth Rivers
The exhibition runs until the 14th September 2019.
|Elaine Byrne will take part in The Watchers, a group show at the Foundation, New York, opening 11th July.|
The Watchers, an exhibition that focuses on the multi-faced nature of surveillance and privacy in contemporary society, and the subsequent production and obscuration of information and news, will be on view at the Foundation’s exhibition space, The 8th Floor, in New York City from July 11 through October 12, 2019. Artists in the exhibition includeVito Acconci, American Artist, Elaine Byrne, Lieven De Boeck, Anne Deleporte,Hasan Elahi, Karin Ferrari, Orkhan Huseynov, Pedro Lasch, Rafael Lozano-Hemmer,Cannupa Hanska Luger, Arnold Mesches, Trevor Paglen, and Amie Siegel.
The Watchers is loosely organized as a narrative about surveillance, presenting examples of stalking, sousveillance, fortified borders, facial recognition technology, as well as proposals for World Trade Center Memorials in cities across the world. Artworks featured in the exhibition that cite oppressive uses of tracking devices are juxtaposed with artistic manipulations of surveillance that model political agency and resistance. The exhibition sets the stage for dialogue examining the relationship between the technologies used to produce surveillance and the construction of news media.
|We are proud to announce that Diana Copperwhite’s painting, Shapeshifter, pictured above has been acquired by the National Gallery of Ireland for its collection. Copperwhite is one of the first contemporary artists to be acquired by The National Gallery of Ireland.|
When you look at Lesley-Ann O’Connell’s paintings, over time it becomes apparent that they are in flux, spatially and temporally. Nothing within them is static and instead moods drift over the canvas and furtive notions make a brisk appearance. The titles of the work refer to atmospheric vignettes that conjure sensory experience, leaving an emotional imprint. In Midnight Swim, the moon spills its reflection over the choppy tide and unexpected colours lap over the waves and pierce through clouds.
They are strange and mysterious compositions that incorporate elements of visionary landscape painting, still life and abstraction. Experientially, the paintings have a tendency to leave the viewer unmoored, with very little by way of logic or points of reference to cleave to. And yet in this negation, other ideas of abstraction release, allowing for a more existential capacity within the paintings.
O’Connell has described a painting process in which her own handling of paint is secondary to the potential for chance and caprice to inform the work. Compositions are often dismantled or obliterated by unpredictable gestures, causing them to digress or to re-iterate a motif that has endured within them. It is an explorative process whereby the urge to glean a sense of satisfaction from chance aesthetic unity is constantly set aside by O’Connell who continues to reset paintings and pose contradictions within them. She is an artist who is less interested in controlling the medium or imposing a resolve and instead she allows the paintings to coalesce on their own terms.
Sometimes, tentative suggestions seek each other out and converse across a plain of faded palimpsest and they are let alone – their frivolity contrasting with the dense residual patina of the paintings own history. In this way the forms, colours, marks, washes and tones within the paintings cooperate to create a sense of drama. In some instances, paintings appear to have been imprinted upon each other giving a sense of resonance amidst as cacophony of marks. The paintings inform each other, grow from one another and in some cases are cannibalised by each other recurring as collage elements and composites of another painting.
This is a reflection of the myriad temporal and spatial dismissals that occur within O’Connell’s compositions. The viewer is allowed glimpses from numerous perspectives that soar to bird’s eye vantage points and drop into subterranean chasms. The paintings can be disorientating and idiosyncratic and still they retain a sense of synchronicity.
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
Extracted from Four Quartets, Quartet No. 1: Burnt Norton by T.S Eliot
Text by Ingrid Lyons
The Carlow Arts Festival and VISUAL Carlow presents
ARTWORKS 2019: Dearly Beloved
04 June – 01 September
Featuring selected works from the Irish Museum of Modern Art Collection
Sinéad Ní Mhaonaigh will show work alongside Marian Balfe, Colin Crotty, Mark Cullen, Gabhann Dunne, Mary A. Fitzgerald, Jane Fogarty, Helen Hughes, Jo Kimmins, Breda Lynch, Jonathon Mayhew, Paul Mosse, Oisín O’Brien, Tom O’Dea, Laurence O’ Toole,Jane Queally, Joanne Reid, Amanda Rice, Emma Roche, Joan Sugrue, Chanelle Walsh, Linda Conroy and Fiona Reilly.
From the IMMA Collection: Pierre Huyghe, Mairead MacLean, Mark O’Kelly, Apichatpong Weerasethakul, Daphne Wright.
May the moon rise and the sun set
May the moon rise and the sun set is a solo exhibition of new installation, painting and collage work at UCC Music Department, Cork City curated by Chris Clarke and produced by The Glucksman as part of Cork Midsummer Festival 2019.
Exhibition opens 14th June 2019 and runs daily until 23rd June 2019.
Using the unique history and architecture of the building to create an ambitious large-scale installation artwork, the work includes paintings, drawings, sculptures, indigenous and religious art, paraphernalia (both found and fabricated) as well as objects including musical instruments, books, lights, rugs, carpets, clothing, scraps of paper, sketches, countercultural newspapers, playing cards, psychedelic posters and everyday detritus.
The installation also incorporates elements of sound and video work, including music composed from tape loops of pre-recorded repetitive drone, folk and psychedelic music, cut-up monologues and video from found sources. These materials reference makeshift shamanic shrines and dilapidated places of worship, sub-cultural interests in folk ritual and the hippie communes of the 1960s and 70s.
A transient midsummer offering, May the moon rise and the sun set exists only in this edition, for this time in this space.
Yorkshire Sculpture International; A festival of sculpture
Across Leeds and Wakefield
Saturday 22 June – Sunday 29 September 2019
Free and open to all
For Yorkshire Sculpture International, Sean Lynch will realise a project for the Henry Moore Institute Research Library based on the life and work of ‘Flint Jack’, a nineteenth-century Yorkshire antiquarian, vagabond and highly skilled artisan, who sold fake megalithic axe heads and ceramic and stone carving forgeries. Despite their lack of historical providence and verification, these objects still populate many UK museums.
Kevin Kavanagh, Dublin is proud to present An Enquiry II by Margaret Corcoran. This exhibition is part of a Production Residency at IMMA in collaboration with Kevin Kavanagh Dublin. Corcoran re-enters and elaborates on the themes from an earlier series; The Enquiry Series painted in 2002. In this earlier series, subjects such as identity, national identity, colonialism and post-colonialism are explored in an art-historical and social context. The Enquiry Series takes its title from Edmund Burke’s theories of The Sublime and follows the gaze of a young female, (the artist’s eldest daughter) during the final years of her childhood – finding her way along the green walls of the Milltown Rooms in The National Gallery of Ireland, viewing the historically and politically loaded paintings.
It is unusual for Corcoran to revisit her older work but in this case, the opportunity presented itself organically. An immediate prompt for this new series of paintings, entitled An Enquiry II, was the occasion of her daughter Thérèse, at a similar age, standing in front of the recent Vermeer exhibition at the NGI. But also the exuberance of a now complete renovation of the entire building and the riot of colour, the gleaming re-gilded frames and the new orders and choices of hanging. Permission and assistance was granted by the NGI and documentation began in order to produce a large body of paintings.
Much has changed in the intervening years. Ireland has undergone cultural transformations. As a nation we are changed and we are also in changing times. Interestingly, the previous work was made just as the euro replaced our Irish coinage. In both series we are exploring rooms where our Irishness played out against a backdrop of colonialism and the great beauty and complexities of European art. These new paintings are made in the looming approach and unfoldings of Brexit. Still we feel the effects of the political decisions of our British neighbours.
These new works reflect the times we live in. They convey the hope for a new national confidence, particularly in female terms. The young woman walks freely through the rooms before the iconography of myth and religion. She has choices.
Kevin Kavanagh is proud to present How The Oyster Makes The Pearl, a solo show by Sonia Shiel. Sonia Shiel’s interdisciplinary practice combines key methodologies from art, law and theatre to imbue characteristics, autonomy and personal narratives in the inanimate objects and painted works that she creates. Playfully usurping the normal conditions of an artwork with a kind of self-conscious agency usually reserved for living things, her works are often free-standing or traversable; presented with their own volition, backstory, or environment; and sometimes consolidated within installations, audio works, performance or video. Shiel’s collection of paintings for How The Oyster Makes The Pearl presents the world translucently in a careful matrix of tone, opacity and colour. While framed, stuffed or folded like things we intend to keep safe and admire forever, Shiel’s flat vanishing spaces are already evanescing. They reveal the shape-shifting dimensions of a sentient landscape, in which reflections abandon their hosts, horizons untether themselves from their axis, gestural marks pose willfully and light plays tricks before disappearing.
Exhibition opening: 12/04/19 – 28/06/19
Opening reception: 12 April 2019 6-9pm
WATER MOUNTAIN – Robert Armstong – At the Academy of Visual Arts as Artist-in-Residence HONG KONG Baptist University
Opening Tuesday the 9th of April- 6pm- 8pm
Kevin Kavanagh is pleased to present MICHAEL
COLEMANS STILL LIFE, an exhibition of paintings which opens Thursday 14th of
March. We are delighted to be working with Michael again for the
first time since his solo exhibition in 1997 at the Jo Rain Gallery in Temple
Bar. Born in 1951, Michael had his first one man show at the Oliver Dowling
Gallery in 1977. In the same year he was awarded the Carroll’s Open prize at
The Irish Exhibition of Living Art. 1979 saw him win the first prize for
painting at EV+A and in 1980 was awarded the same prize for a second time.
Following these successes he moved to Vienna where he lived for some years,
returning to Ireland in 1989. In 1991 he Featured in ‘Irish Art of the
Eighties’ a survey exhibition at the Douglas Hyde Gallery, Trinity College
Dublin. Two major solo shows in the 90’s include his Hoeys Court Paintings at
the RHA Gallagher Gallery, Dublin in 1994 and his ‘Temple Bar Painting’
Installation at the Hunt Museum, Limerick, 1998. He has presented solo
exhibitions at the Green on Red gallery 1998 and 2000 and the Cross Gallery,
2004, 2006 and 2012. His work is represented in public and private
collections in Ireland and abroad. He lives and works in Dublin.
“There is an attractive openness about Michael Coleman’s paintings that involve building up in layers: painting out: painting over: experimenting, faltering, adjusting, recovering, redefining, triumphing. Always toying with failure, always nudging ideas towards the outer imaginative reaches. He bears witness to the nature of experience and memory, while simultaneously transmuting them into art” – Dennis Driscoll
MAKing Art: The PAINTing EXHIBITION , Draíocht Arts Centre
Address: The Blanchardstown Centre, Blanchardstown, Co. Dublin, D15 RYX6
Date: 14th of March – 18th of May, 2019
MAKing Art: PAINTing is the second in a series of exhibitions (2018-2022) particularly aimed at children and young people which explores a specific visual art discipline, its materials, processes and varied manifestations. Painting is the focus of this second exhibition (the first was drawing). It celebrates different approaches to the use of paint, to the act of painting and to the painting as finished artwork.
Curated by Sharon Murphy
Dorsky Gallery : 45th Ave, Long Island City, NY 11101, USA
February 17th – April 7th, 2019
Opening reception Sunday the 17th of February 2-5pm
Oliver Comerford will be exhibiting in a group show in New York titled Distance. Curated by Steve Locke and Betsy Alwin, Distance looks to the physical, chronological, intellectual, emotional, and geographic dimensions that the concept of distance entails. This exhibition brings together the work of alumni from the Skowhegan school of painting. The curators were further inspired by Solmaz Sharif’s poem, Look, which explores consequences that result from perceptions of difference and distance. This exhibition includes works by artists of varying ages, from various cultural backgrounds, who work in various locations around the country and around the world. Although the works in Distance all can be called “works on paper,” the diversity of shapes, sizes, materials and techniques reflects the variety of contemporary art practices encompassed under that single rubric.
15 February – 13 April 2019
The Print Studio Posters is currently on show in the Temple Bar Galleries and Studios Atrium space. This exhibition showcases the variety of screen printed posters made by Robert Armstrong and Joe Hanly throughout the 80’s from their time running The Print Studio. In addition to their artistic practices Armstrong and Hanly produced posters for all manor of events throughout Ireland, these hand printed works were a necessity in a time when photoshop and other design programs weren’t so readily available, the resulting images bringing together high levels of both skill and artistry.
On the 20th of February you can catch Robert and Joe in conversation with John Graham in Studio 6, where they will discuss the exhibited works. Admission is free but booking is required.
Solstice Arts Centre
Railway Street, Navan, Co. Meath
Opens Saturday the 9th of March at 2.30pm (closes Thursday 2nd of May)
Alice Maher will be exhibiting work in The Solstice Arts Centre’s upcoming show Music + Maker. This project draws together artists, musicians and composers, and produces works built of this interdisciplinary collaboration. The exhibition will be opened by Simon O’Connor, composer and Director of The Museum of Literature, Ireland.
To mark the opening of the exhibition, join Director of Solstice Belinda Quirke for an In Conversation with exhibiting artists /composers and improvised performances by Irene Buckley & Elaine Cowley (from Crevice) and Colm O Hara (trombone).
“If I am forced to associate, I think of my pictures as explosive landscapes, worlds, and distances held on a flat surface”.
– Helen Frankenthaler
In his new paintings Robert Armstrong delights in the dripping, slipping, scraping, melding, oozing, brushing, and drying of oil paint on a heavily gessoed linen ground. The squeegee ravages the surface, clearing, and altering the physical ground as well as shaping the image itself. The results present ‘paintscape’ images of their own making and they connect to natural and man-made processes in landscape. The world depicted seems poised in a state of flux, suggesting the natural cycle of change, yet witness also to the interference of humanity.
Born in Gorey, County Wexford, Ireland, in 1953, Robert Armstrong lives and works in Dublin, and is represented by the Kevin Kavanagh Gallery, also in Dublin. He is a Founder Member of Temple Bar Gallery & Studios, Dublin and was Head of Painting at the National College of Art & Design (NCAD) from 2002 until his retirement in 2018, having taught at the college since 1991. He has exhibited regularly in Ireland and abroad for more than forty years. His work is included in many private and public collections and has been the subject of essays by writers including Aidan Dunne, Declan Long and Colm Tóibín.