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Extended Essay

Existential Observers

MARK O’KELLY DISCUSSES ASPECTS OF PORTRAIT PAINTING IN IRELAND. Early portraiture can be viewed as an historical instrument of class identification, patriarchal gaze and institutional hegemony. It could also be argued that, over the years, important significations of portraiture have been exploited and aesthetically challenged through the deconstructive approaches of key historical and contemporary Irish artists. This complex field has huge public appeal and carries immense prestige for artist and subject at the level of national identity, recognition and status. The historical context for contemporary Irish portraiture and the breadth of current practice have been highlighted in a range of recent events: the Freud Project at IMMA; the reopening of

Texture of a Medium

ALISON PILKINGTON LOOKS AT CURRENT PRACTICES IN IRISH ABSTRACT PAINTING. “We are all at present, far more divided, less empowered and certainly far less connected to the effects of our world than we should be. It is for this reason that I am deeply involved in the texture of a medium capable of universalizing so much lost intimacy.” 1 The term ‘abstract painting’ is historical and, over time, the parameters of the genre seem to have collapsed. It could be argued that to write about abstract painting as if it were a genre that has some significant position within contemporary art, might be a somewhat redundant inquiry. The term itself

Landscape and the Built Environment

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,