5. Column. Rebecca Strain. Snooping & Shooting in the Dark.(Archived)
5. Roundup. Recent exhibitions and projects of note.
6. Column. Emily Mark Fitzgerald. A Special Beauty in all that is Goodly … (Archived)
7. Column. Jonathan Carroll. Steadier on its Feet.
8. News.The latest developments in the visual arts sector.
8. VAI News. Recent VAI activities, campaigns, comment and analysis.
9. Regional Focus. Laois: Resources & Activities. Adrienne Symes, Angela Delaney, Laois Arts Office, Jackie Carter, Karen Hendy.
12. Residency Profile. Immersed in Possibility. Ciara Healy and Karl Musson, recipients of 126 gallery’s Art Farm residency, offer an account of their experiences.
13. Institution Profile. Evolve, Learn, Grow. Barry Kehoe profiles Block T studios,Dublin.
14. Profile. Fostering the Countrypolitan. Patricia Hurl and Therry Rudin talk to Fiona Woods about Damer House, a new artist-led space in Tipperary.
15. VAI Professional Development. Sustaining the Ephemeral. El Putnam profiles VAI’s masterclass by Nigel Rolfe and the discussion ‘Sustaining Performance Based Practices’ at the Dublin Live Art Festival. (Archived)
16.Residency. Station to Station. Maria Mckinney, Sue Corke and Hagen Betzwieser describe the studio exchange run by Fire Station Artists’ Studios, Dublin and Acme Studios, London.
17. Project Profile. Tbilisi Traces. Eoin Mac Lochlainn profiles the ‘Palimpsest/ Rianú’ project, which was shown as part of Artisterium VI, held in Tbilisi, Georgia during October 2013.
18. Career Development. Becoming a Better Sculptor. Jason Ellis describes his training and background and reflects on the motivation and philosophy behind his art practice.
19. Critique.‘Common ground’, Occupy Space, Limerick; ‘The Work of Micheal Farrell’, Crawford Gallery,Cork; Dragana Jurisic, Belfast Exposed; Mary Burke Draiocht, Dublin; Sinead Rice in a group show at Flowers Gallery, ‘A Lamb Lies Down’, Broadstone Studios, Dublin; Mark Durcan, The Lab, Dublin
23.Workshop. Intention, Then Interpretation. Lisa Fingleton reports on her participation in a workshop with Shirin Neshat at the London Film School.|(Archived) (more…)
JASON OAKLEY REFLECTS ON ‘ARTS AWARDS: PRIZES! PRIZES! PRIZES!’, A TALK ORGANISED BY VAI IN CONJUNCTION WITH THE 2013 TURNER PRIZE AND HOSTED BY THE GOLDEN THREAD GALLERY, BELFAST IN NOVEMBER 2013
The art world has a funny relationship to art prizes and awards – a certain sniffyness prevails. Some artists say they don’t care if they win or not, or that they’d rather not be nominated – the surrounding hoopla is just not their thing. Curators are loath to say that they’re overly impressed by the winners of various gongs and baubles. But to give this attitude its due, Stuart Morgan, writing in the very first edition of Frieze Magazine in 1991, perhaps never said truer words than “artists are not in competition with each other but with themselves and the past”. (more…)
INTENTION, THEN INTERPRETATION
LISA FINGLETON REPORTS ON HER PARTICIPATION IN A 10-DAY WORKSHOP WITH SHIRIN NESHAT AT THE LONDON FILM SCHOOL, HELD IN OCTOBER 2013.
I couldn’t believe it when I literally stumbled across the opportunity to work with the world renowned Shirin Neshat. Shirin is an Iranian-born, New York-based artist, photographer and filmmaker. Much of her work addresses the personal, social and political dimensions of women’s experiences in contemporary Middle Eastern societies. She was awarded the First International Prize at the 48th Venice Biennale and in 2009 won the Silver Lion at the Venice Film Festival for her first feature film, Women Without Men. (more…)
EMILY MARK FITZGERALD
A SPECIAL BEAUTY IN ALL THAT IS GOODLY …
In making his case for the importance of liberal arts education, John Henry Newman argued in his Idea of a University (1852) that the value of education lay in its intellectual and broader social contribution, not merely in terms of its impact on the commercial economy. Reflecting on the aesthetic cultivation of landscape – and how this duty of care might be translated to the cultivation of the mind – he queried:
“Why do you take such pains with your garden or your park? You see to your walks and turf and shrubberies; to your trees and drives; not as if you meant to make an orchard of the one, or corn or pasture land of the other, but because there is a special beauty in all that is goodly in wood, water, plain, and slope, brought all together by art into one shape, and grouped into one whole.” (more…)
Column: Making It
SNOOPING & SHOOTING IN THE DARK
“Meaningless work is potentially the most abstract, concrete, individual, foolish, indeterminate, exactly determined, varied, important art-action-experience one can undertake today.”
Walter De Maria, On Boxes for Meaningless Work, 1961
My key priority over the last 12 months has been to make sense of the reverse culture shock I experienced since returning to a changed homeland (after 12 years studying, training and working as an artist in England) and trying to use my skills, experience and qualifications to support myself – both morally and financially. (more…)