BEN WEIR OUTLINES HIS RECENT BOOK, PUBLISHED IN RESPONSE TO URBAN REDEVELOPMENT IN BELFAST CITY CENTRE.
“The Claw is the blind performer
It cannot speculate, judge
The Claw can’t read
Crimes in plain sight
An austere vandal.” Continue reading “Building a Book”
RAMON KASSAM PRESENTS A SURVEY OF CONTEMPORARY LANDSCAPE PAINTING IN IRELAND.
The 1920s and 30s saw an extraordinary increase in the popularity and production of landscape paintings in Ireland. Paul Henry and Jack B. Yeats, who are currently being exhibited side by side in Limerick’s Hunt Museum, were two of the major protagonists of that era. In contrast, European painting at that time was in the throes of Modernism, producing aesthetic innovation after innovation, which was largely self-analytical and retreating into its own flatness. Such concerns seemed secondary for many Irish artists, which would suggest that motivations were being shaped by different factors. These artists did engage in self-reflexive processes, but did so with the aim of exploring identity politics, with landscape painting becoming an important vehicle. The case is usually made that the prevailing subjects and sensibilities in Irish painting emerged as a result of post-independence Ireland’s distrust of Modernism, as well as the conservative social values asserted by the church and state. However, the precedence placed on landscape as a subject can also be perceived as the result of the newly-formed, post-colonial position of Irish artists. In this way, painting the landscape can be understood as an act of repossession, a reclaiming of territory and culture.
Continue reading “Landscape and the Built Environment”