RICHARD GORMAN, PAINTINGS AND PRINTS

  • Published on
    09-Jan-2017

  • View
    221

  • Download
    2

Embed Size (px)

Transcript

<ul><li><p>Irish Arts Review</p><p>RICHARD GORMAN, PAINTINGS AND PRINTSIrish Arts Review (2002-), Vol. 28, No. 3 (AUTUMN [SEPTEMBER - NOVEMBER 2011]), p. 140Published by: Irish Arts ReviewStable URL: http://www.jstor.org/stable/23049524 .Accessed: 10/06/2014 13:36</p><p>Your use of the JSTOR archive indicates your acceptance of the Terms &amp; Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp</p><p> .JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.</p><p> .</p><p>Irish Arts Review is collaborating with JSTOR to digitize, preserve and extend access to Irish Arts Review(2002-).</p><p>http://www.jstor.org </p><p>This content downloaded from 62.122.73.185 on Tue, 10 Jun 2014 13:36:10 PMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/action/showPublisher?publisherCode=iarhttp://www.jstor.org/stable/23049524?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp</p></li><li><p>AUTUMN 2011 </p><p>CATALOGUES </p><p>RHA181ST ANNUAL EXHIBITION 2011 ROYAL HIBERNIAN ACADEMY, DUBLIN, 2011 PR 96 FULLY ILLUSTRATED P/B a20.00 ISBN: 1 -903875-59-5 </p><p>The annual catalogues have settled </p><p>into an established format. The key </p><p>element is a list of all of the works </p><p>exhibited together with a goodly </p><p>selection of mainly colour images </p><p>buttressed by a number of essays, in </p><p>this case S B Kennedy's obituary of </p><p>T P Flanagan, Eimear O'Connor's </p><p>outline of the contents of the RHA </p><p>archives which she has recently </p><p>recatalogued, and Mick O'Dea's </p><p>'photo-essay' on the RHA School. It </p><p>is, however, a real pity that nobody </p><p>bothered about the reference value. </p><p>There is no list of illustrations, and </p><p>even the list of exhibits is not cross </p><p>referenced to them, so if you are </p><p>looking for a particular artist - </p><p>THE ART </p><p>FLOATING RHA ANNUA FINNIN </p><p>shapes, placed against coloured </p><p>backgrounds. These have jokey titles </p><p>like My Life as a Lettuce Labeller. </p><p>These white images might be a joke, </p><p>or might not, but if they really are </p><p>paintings, then the 'reproductions' </p><p>which look like geometric units of </p><p>white page surrounded by a coloured </p><p>border, give one no information </p><p>whatsoever. There is a short CV, and </p><p>a brief note by Sue Hubbard which </p><p>fails to elucidate. Perhaps best </p><p>regarded as a quirky artist's book. </p><p>RICHARD GORMAN, PAINTINGS AND PRINTS MITKA CITY GALLERY OF ART, JAPAN, 2010 PP 162, ILLS 65 COL P/B NO ISBN </p><p>In effect this is a retrospective of </p><p>Gorman's work between 2002 and </p><p>2010. The reproductions look </p><p>of 'Sometime', with occasional tipped </p><p>in notes on the work by the artist. </p><p>Sandwiched in-between are a block of </p><p>identified paintings, a brief note on </p><p>the artist by Oliver Sears, a short </p><p>essay by Ciaran Benson, a CV, and </p><p>the publication details! Beug is an </p><p>American artist long resident in </p><p>Ireland. Worth buying. </p><p>BARRIE COOKE IRISH MUSEUM OF MODERN ART, DUBLIN, 2011 PP 162 ILLS 82 COL H/B P35.00 ISBN: 978-1843511-96-0 </p><p>Handsomely produced, with good if </p><p>somewhat variable plates, an excellent </p><p>exhibition chronology and equally </p><p>excellent bibliography, and a list of </p><p>illustrations which is cross-referenced </p><p>to the appropriate page numbers, this </p><p>is one of IMMA's better reference </p><p>assuming that you know that he or </p><p>she is illustrated - you have to flick </p><p>through the entire catalogue. </p><p>THE FORGOTTEN ART OF FLOATING: MARTIN FINNIN CORN EXCHANGE GALLERY, EDINBURGH. 2011 PP 52 FULLY ILLUSTRATED P/B NO ISBN </p><p>Finnin is a largely abstract painter </p><p>from Cork. That said, it is difficult to </p><p>gauge just whom this catalogue is </p><p>aimed at. There are a large number of </p><p>untitled colour illustrations, of </p><p>various sizes and shapes, placed </p><p>against a white background, some of </p><p>them so tiny that one wonders why </p><p>the artist bothered. There are a series </p><p>of blank white pages and a series of </p><p>seemingly identical all-over white </p><p>images, again of various sizes and </p><p>impressive, there is a cross-referenced </p><p>list of works together with a practical </p><p>artist's note and three essays, one by </p><p>Aidan Dunne which is useful for the </p><p>parallel he draws between the artist's </p><p>use of colour and that of the four </p><p>colour map theorem, and two by </p><p>Japanese curators. The translations </p><p>(and especially that of the second essay) </p><p>are poor but this is worth buying, if </p><p>you can get hold of it, for the plates. </p><p>KATHERINE BOUCHER BEUG: SOMETIME OLIVER SEARS GALLERY. DUBLIN, 2011 PP 96 FULLY ILLUSTRATED P/B alO.OO ISBN: 978-0-9565485-0-3 </p><p>This very attractive publication is </p><p>closer in feel to an artist's book than </p><p>to a catalogue. At the beginning, and </p><p>the end, we have blocks of </p><p>unidentified images under the rubric </p><p>catalogues. There are four main texts: </p><p>a lyrical rhapsody by Seamus Heaney; </p><p>a methodical outline of the work by </p><p>Karen Sweeney; an entertaining </p><p>interview by Dorothy Cross; and an </p><p>unreferenced text by Brian Dillon. </p><p>The texts (none of which approach </p><p>the quality of, say, Aidan Dunne's </p><p>1968 Douglas Hyde catalogue) don't </p><p>really reference the exhibition itself. </p><p>There is no exploration of the marked </p><p>difference in quality between the early </p><p>and late nudes for example. </p><p>The exhibition itself was very much </p><p>a curate's egg. Impossible to tell </p><p>whether it was just badly selected or </p><p>whether they showed whatever they </p><p>could easily borrow. Cooke is a much </p><p>better artist than this exhibition </p><p>would seem to indicate. </p><p>BRIAN McAVERA is an art critic. </p><p>UO IRISH ARTS REVIEW I AUTUMN 2011 </p><p>CATALOGUES </p><p>RHA181ST ANNUAL EXHIBITION 2011 ROYAL HIBERNIAN ACADEMY, DUBLIN. 2011 PP 96 FULLY ILLUSTRATED P/B a20.00 ISBN: 1-903875-59-5 </p><p>The annual catalogues have settled </p><p>into an established format. The key </p><p>element is a list of all of the works </p><p>exhibited together with a goodly </p><p>selection of mainly colour images </p><p>buttressed by a number of essays, in </p><p>this case S B Kennedy's obituary of </p><p>T P Flanagan, Eimear O'Connor's </p><p>outline of the contents of the RHA </p><p>archives which she has recently </p><p>recatalogued, and Mick O'Dea's </p><p>'photo-essay' on the RHA School. It </p><p>is, however, a real pity that nobody </p><p>bothered about the reference value. </p><p>There is no list of illustrations, and </p><p>even the list of exhibits is not cross </p><p>referenced to them, so if you are </p><p>looking for a particular artist - </p><p>assuming that you know that he or </p><p>she is illustrated - you have to flick </p><p>through the entire catalogue. </p><p>THE FORGOTTEN ART OF FLOATING: MARTIN FINNIN CORN EXCHANGE GALLERY, EDINBURGH, 2011 PP 52 FULLY ILLUSTRATED P/B NO ISBN </p><p>Finnin is a largely abstract painter </p><p>from Cork. That said, it is difficult to </p><p>gauge just whom this catalogue is </p><p>aimed at. There are a large number of </p><p>untitled colour illustrations, of </p><p>various sizes and shapes, placed </p><p>against a white background, some of </p><p>them so tiny that one wonders why </p><p>the artist bothered. There are a series </p><p>of blank white pages and a series of </p><p>seemingly identical all-over white </p><p>images, again of various sizes and </p><p>shapes, placed against coloured </p><p>backgrounds. These have jokey titles </p><p>like My Life as a Lettuce Labeller. </p><p>These white images might be a joke, </p><p>or might not, but if they really are </p><p>paintings, then the 'reproductions' </p><p>which look like geometric units of </p><p>white page surrounded by a coloured </p><p>border, give one no information </p><p>whatsoever. There is a short CV, and </p><p>a brief note by Sue Hubbard which </p><p>fails to elucidate. Perhaps best </p><p>regarded as a quirky artist's book. </p><p>RICHARD GORMAN, PAINTINGS AND PRINTS MITKA CITY GALLERY OF ART, JAPAN, 2010 PP 162. ILLS 65 COL P/B NO ISBN </p><p>In effect this is a retrospective of </p><p>Gorman's work between 2002 and </p><p>2010. The reproductions look </p><p>impressive, there is a cross-referenced </p><p>list of works together with a practical </p><p>artist's note and three essays, one by </p><p>Aidan Dunne which is useful for the </p><p>parallel he draws between the artist's </p><p>use of colour and that of the four </p><p>colour map theorem, and two by </p><p>Japanese curators. The translations </p><p>(and especially that of the second essay) </p><p>are poor but this is worth buying, if </p><p>you can get hold of it, for the plates. </p><p>KATHERINE BOUCHER BEUG: SOMETIME OLIVER SEARS GALLERY, DUBLIN, 2011 PP 96 FULLY ILLUSTRATED P/B alO.OO ISBN: 978-0-9565485-0-3 </p><p>This very attractive publication is </p><p>closer in feel to an artist's book than </p><p>to a catalogue. At the beginning, and </p><p>the end, we have blocks of </p><p>unidentified images under the rubric </p><p>of 'Sometime', with occasional tipped </p><p>in notes on the work by the artist. </p><p>Sandwiched in-between are a block of </p><p>identified paintings, a brief note on </p><p>the artist by Oliver Sears, a short </p><p>essay by Ciaran Benson, a CV, and </p><p>the publication details! Beug is an </p><p>American artist long resident in </p><p>Ireland. Worth buying. </p><p>BARRIE COOKE IRISH MUSEUM OF MODERN ART. DUBLIN. 2011 PP 162 ILLS 82 COLH/B n35.00 ISBN: 978-184-3511 -96-0 </p><p>Handsomely produced, with good if </p><p>somewhat variable plates, an excellent </p><p>exhibition chronology and equally </p><p>excellent bibliography, and a list of </p><p>illustrations which is cross-referenced </p><p>to the appropriate page numbers, this </p><p>is one of IMMA's better reference </p><p>catalogues. There are four main texts: </p><p>a lyrical rhapsody by Seamus Heaney; </p><p>a methodical outline of the work by </p><p>Karen Sweeney; an entertaining </p><p>interview by Dorothy Cross; and an </p><p>unreferenced text by Brian Dillon. </p><p>The texts (none of which approach </p><p>the quality of, say, Aidan Dunne's </p><p>1968 Douglas Hyde catalogue) don't </p><p>really reference the exhibition itself. </p><p>There is no exploration of the marked </p><p>difference in quality between the early </p><p>and late nudes for example. </p><p>The exhibition itself was very much </p><p>a curate's egg. Impossible to tell </p><p>whether it was just badly selected or </p><p>whether they showed whatever they </p><p>could easily borrow. Cooke is a much </p><p>better artist than this exhibition </p><p>would seem to indicate. </p><p>BRIAN McAVERA is an art critic. </p><p>This content downloaded from 62.122.73.185 on Tue, 10 Jun 2014 13:36:10 PMAll use subject to JSTOR Terms and Conditions</p><p>http://www.jstor.org/page/info/about/policies/terms.jsp</p><p>Article Contentsp. 140</p><p>Issue Table of ContentsIrish Arts Review (2002-), Vol. 28, No. 3 (AUTUMN [SEPTEMBER - NOVEMBER 2011]), pp. 1-144Front MatterART NEWS AND DIARY [pp. 21-26, 28, 30, 32, 34, 36, 38, 40, 42, 44, 46]AUCTIONS: UNDER THE HAMMERJONATHAN FISHER PORTFOLIO AT MEALY'S [pp. 48-48]GRACE HENRY AT THE KELLY COLLECTION [pp. 48-48]JACK YEATS STUDIO ARCHIVE AT WHYTE'S [pp. 50-50]ROSEWOOD TABLE FROM TYRONE HOUSE AT BONHAMS [pp. 50, 52]AUCTION PREVIEW: Whyte's 24 September [pp. 50-50]HUGH DOUGLAS HAMILTON PASTEL PORTRAITS AT CHRISTIE'S [pp. 52-52]AUCTION PREVIEW: De Veres 19 September [pp. 52-52]</p><p>EDITOR'S LETTER [pp. 54-54]The Irish Arts Review Archive goes online [pp. 56-56]The coercion of substance [pp. 58-59]New forms of beauty [pp. 60-61]The vanishing present [pp. 62-63]Dublin Contemporary 2011 [pp. 64-67]Deborah Brown: a life in the round [pp. 68-75]Joint declaration [pp. 76-79]Lilburn's pictorial odyssey [pp. 80-83]Diary of a painter [pp. 84-85]Mike Bunn: assignment masterclass [pp. 86-89]The post-postmodern advance [pp. 90-96]Waterford's Cultural QuarterWaterford's Viking footprint [pp. 97-98]Waterford: patronage and position [pp. 99-102]Conscience and commerce in Georgian Waterford [pp. 103-105]Mitres and mansions [pp. 106-111]</p><p>Cheating the fell destroyer [pp. 112-115]Alicia Boyle's sketchbooks [pp. 116-119]Triskel Christchurch [pp. 120-123]Liam Flynn: past and present [pp. 124-125]DESIGN PORTFOLIO [pp. 126, 128, 130, 132]REVIEWSBOOKSReview: untitled [pp. 134-134]Review: untitled [pp. 134-135]Review: untitled [pp. 135-136]Review: untitled [pp. 136-136]Review: untitled [pp. 136-137]Review: untitled [pp. 137-138]Review: untitled [pp. 137-137]Review: untitled [pp. 138-138]</p><p>CATALOGUESReview: untitled [pp. 140-140]Review: untitled [pp. 140-140]Review: untitled [pp. 140-140]Review: untitled [pp. 140-140]Review: untitled [pp. 140-140]</p><p>CURATOR'S CHOICERisen from the ashes [pp. 142-142]</p><p>RIGHT OF REPLY [pp. 144-144]Back Matter</p></li></ul>