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Elizabeth Archbold – MFA Graduate, 2014

July 11, 2014
Elizabeth Archbold, Second Time, 2014, oil on canvas, 40x30cms

Elizabeth Archbold, Second Time, 2014, oil on canvas, 40x30cms

These paintings are individual investigations into the materiality of paint and the practice of making paintings. Building up layers on the surface overtime, the forms evolve from a combination of pre-determined limits and intuitive processes

Elizabeth Archbold, Untitled, 2014, oil on linen, 25x30cms

Elizabeth Archbold, Untitled, 2014, oil on linen, 25x30cms

Elizabeth Archbold, Untitled, 2014, oil on canvas, 30x40cms

Elizabeth Archbold, Untitled, 2014, oil on canvas, 30x40cms

Posted by Elizabeth Archbold

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Joan Coen – MFA Graduate, 2014

July 10, 2014
Joan Coen, Painting, 2014

Joan Coen, Painting, 2014

My practice is concerned with paint and with its inherent capacity to materialise an image. I engage with Tradition in this particular body of work in an attempt to place Still Life within the contemporary art scene in a meaningful manner.

Joan Coen, section of installation Sabbath, 2014

Joan Coen, section of installation Sabbath, 2014

The philosophy of Plato and its exposition by later thinkers in particular Schopenhauer and Heidegger is the foundation for this work which is based on the observation of a single vessel over time. Plato expressed the belief that the artist merging his personality with a given object and in reproducing the object is expressing himself. Schopenhauer concurs that there will occasionally occur a “transition from the common knowledge of particular things to knowledge of the idea” “since the whole consciousness is completely filled and occupied by a single intuitive image”. (Will and Representation). The act of painting for me is a search for this essence which holds the Idea.

Joan Coen, Sabbath installation, 2014

Joan Coen, Sabbath installation, 2014

I see Life as Idea and through the process of paint, mark and colour engage with its flux and rhythm, drawing analogy through metaphor and creating relationship between reality and imagination.

Thought creates, therefore I find Heidegger’s statement of particular interest; “It is necessary to think one thought, one thought only and think it through to the end”.

Posted by Joan Coen

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Lesley-Ann O’Connell – MFA Graduate, 2014

July 9, 2014
Lesley Anne O’Connell, Abound, 40x50cm, oil on canvas, 2014

Lesley-Ann O’Connell, Abound, 40x50cm, oil on canvas, 2014

Seeking colour, surface, space I like to keep my painting practice an open and dynamic one. I embrace both intentionality and its ability to get scuppered by incidentals, changes of mind and the detritus of studio practice. I tend not to restrict myself too much. I hope that at its core my work reflects a curiosity for the medium and a sense of its capacities both as matter and vehicle for colour and form.

Lesley Anne O’Connell, Paintscape, oil on canvas, 40 x 50cm, 2014

Lesley-Ann O’Connell, Paintscape, oil on canvas, 40 x 50cm, 2014

Lesley Anne O’Connell, Parts equal whole, acrylic and oil on canvas, 35x45cm, 2014

Lesley-Ann O’Connell, Parts equal whole, acrylic and oil on canvas, 35x45cm, 2014

Lesley Anne O’Connell, Pulling it together in space, oil on canvas, 40x50, 2014

Lesley-Ann O’Connell, Pulling it together in space, oil on canvas, 40×50, 2014

Posted by Lesley-Ann O’Connell

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Denis Kelly – MFA Graduate, 2014

July 7, 2014
Denis Kelly, Untitled (Two Greens) 2014, acrylic on found wood,50 x 40 cm

Denis Kelly, Untitled (Two Greens) 2014, acrylic on found wood, 50 x 40 cm

The work is a playful response to architecture, design and visual culture and employs a strict reductive language that references mid and early twentieth century hard edge painting. An earlier graphic design career is reflected in much of the work where the intention is to allude rather than describe; allowing curious forms to materialise within the painting that ultimately explore light, form and space.

Denis Kelly, Untitled (Brown Field) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Brown Field) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Deep Blue) 2014, acrylic on found wood,50 x 40 cm

Denis Kelly, Untitled (Deep Blue) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mellow Yellow) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mellow Yellow) 2014, acrylic on found wood, 50 x 40 cm

Denis Kelly, Untitled (Mauve Centre ) 2013, acrylic and pencil on found wood, 40 x 40 cm

Denis Kelly, Untitled (Mauve Centre ) 2013, acrylic and pencil on found wood, 40 x 40 cm

Denis Kelly installation view

Denis Kelly installation view

Posted by Robert Armstrong

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Kipple

June 18, 2014
Andrew Simpson, Olive, 2013, oil on wood, 22x27 cms

Andrew Simpson, Olive, 2013, oil on wood, 22×27 cms

Showing at the NCAD Gallery, Dublin, the artists in Kipple, Natasha Conway, Daniel Jackman, Eveleen Murphy, Andrew Simpson and George Warren all graduated from the Painting Department at NCAD in 2013. They were part of a truly dynamic group of BA and MFA students. They see themselves as having “more in common with the intimism of early 20th century European painting than with the heroics of the Abstract Expressionist generation”. However their work reflects a deep connection to European and American painting, past and present. Interestingly the catalogue for their show is dedicated to Raoul De Keyser who died during their degree year; someone whose critical reception in America came late in his career.

Sharon Butler, the New York based artist and critic (Two Coats of Paint), writing in the catalogue quotes F. Scott Fitzgerald who wrote that the “test of a first-rate intelligence is the ability to hold two opposing ideas in mind at the same time and still retain the ability to function”. The opposing ideas for these Irish artists include the intimate and the heroic, the figurative and the abstract, and not least, their geographical situation on the edge of Europe but looking towards America in an increasingly internationalized art world.

Andrew Simpson,The End (Reconciled), 2014, oil on canvas, 30 x 30 cms

Andrew Simpson, The End (Reconciled), 2014, oil on canvas, 30 x 30 cms

Andrew Simpson, Vietnam. From yet with a peak, 2014, oil on canvas,12x160 cms

Andrew Simpson, Vietnam. From yet with a peak, 2014, oil on canvas,12×160 cms

Daniel Jackman, What's in Tom Sawyers pocket, 2014, oil on wood, 30x20 cms

Daniel Jackman, What’s in Tom Sawyers pocket, 2014, oil on wood, 30×20 cms

Daniel Jackman, Box, 2014, oil on wood, 25x20x20 cms

Daniel Jackman, Box, 2014, oil on wood, 25x20x20 cms

Daniel Jackman,Innings, 2014, oil on wood, 23x29 cms

Daniel Jackman, Innings, 2014, oil on wood, 23×29 cms

Daniel Jackman,Untitled, 2014, oil on canvas on wood, 50x35 cms

Daniel Jackman, Untitled, 2014, oil on canvas on wood, 50×35 cms

Eveleen Murphy, Penance, 2014, acrylic on wood, 36x41 cms

Eveleen Murphy, Penance, 2014, acrylic on wood, 36×41 cms

Eveleen Murphy, Before the Fridge, 2014, acrylic on wood, 34x41 cms

Eveleen Murphy, Before the Fridge, 2014, acrylic on wood, 34×41 cms

Eveleen Murphy, Stacks, 2014, plaster, acrylic and glitter, 35x20x18 cms

Eveleen Murphy, Stacks, 2014, plaster, acrylic and glitter, 35x20x18 cms

 

George Warren, Untitled, 2014, oil on canvas, 160x170 cms

George Warren, Untitled, 2014, oil on canvas, 160×170 cms

Natasha Conway, Dance dance dance, 2014, oil on linen on panel, 30x40 cms

Natasha Conway, Dance dance dance, 2014, oil on linen on panel, 30×40 cms

Natasha Conway, Self-Preservation, 2014, oil on linen on panel, 40x45 cms

Natasha Conway, Self-Preservation, 2014, oil on linen on panel, 40×45 cms

Natasha Conway,Shelter, 2014, oil on linen on wood, 45x40 cms

Natasha Conway,Shelter, 2014, oil on linen on wood, 45×40 cms

‘Kipple’ is a fictional word coined by author Philip K. Dick in his 1968 novel Do Androids Dream of Electric Sheep? to describe a proliferation of material ‘things’ that exist and multiply regardless of a character’s presence, or absence. In this instance, kipple is used as metaphor for the thought processes comparable to the materiality of the studio where material accumulates outside of one’s immediate consciousness.

Kipple, gallery view

Kipple, gallery view

Posted by Robert Armstrong

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Museum Hours

February 5, 2014

Museum Hours

‘When a Vienna museum guard befriends an enigmatic visitor, the grand Kunsthistorisches Art Museum becomes a mysterious crossroads which sparks explorations of their lives, the city, and the ways artworks reflect and shape the world.’

I highly recommend the film Museum Hours (2012), directed by Jem Cohen, with footage of the way we look at, visit and relate to paintings ( and the city) from the past in the present.

Posted by Madeleine Moore

800px-Pieter_Bruegel_the_Elder_-_Hunters_in_the_Snow_(Winter)_-_Google_Art_Project

Pieter Bruegel the Elder, Hunters in the Snow (Winter)

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Neo mannerism?

January 30, 2014

The theme of November’s MFA Painting seminar was Jerry Saltz’s article on neo-mannerism, Art’s Insidious New Cliché, published in http://www.vulture.com .

Read the text here.

Saltz berates artists for producing an ‘ever-expanding assembly of anaemically boring artistic clichés squeezing the life out of the art world right now.’

The question for us was, is this the case? If so, is Salz’s argument limited to New York? As one of the comments on his post states, ‘maybe you are not looking in the right place.’

In reference to painting, Saltz states, ‘Nowadays we see endless arrays of decorous, medium-sized, handsome, harmless paintings. It’s rendered mainly in black, white, gray or, more recently, violet or blue. Much of it entails transfer techniques, silkscreening, stencilling, assemblage, collage, a little spray painting or scraping and the like. There might be some smooshy blocks of colour or stripes or other obvious open-form abstraction or geometric motif.’ He then goes on to say that much of the current work references mostly male painters like Albert Oehlen, Christopher Wool, Michael Krebber, Wade Guyton, Laura Owens and Sergej Jensen.

Here is a summary of the arguments that were made ‘for’ and ‘against’ Jerry in our seminar. They do not necessarily reflect the views of the painting department or of everyone at the seminar.

FOR

In support of Jerry’s argument, we looked at a painting by Chantal Joffe, ‘Walking’ which was described as ‘dispassionate,’ in comparison to Maria Lassnig’s work. We looked at Sarah Faux, Patrick Brennan and Zachary Keeting.

Image

Chantal Joffe, Walking Woman, 2004, oil on board

Albert Oehlen Piece 2003 oil on canvas

Albert Oehlen
Piece
2003
oil on canvas

Sarah Faux Crawling Man 2012 oil and spray paint on canvas

Sarah Faux
Crawling Man
2012
oil and spray paint on canvas

 

Patrick Brennan Flow and Fade 2011 mixed media on canvas

Patrick Brennan
Flow and Fade
2011
mixed media on canvas

 

 

Zachary Keeting January (3) 2013  acrylic on canvas

Zachary Keeting
January (3)
2013
acrylic on canvas

 

Another group of works were shown: Luc Tuymans, Daniel Richter, Damien Hirst, and Thomas Hirschorn. The argument around these works is that they were ‘cynical.’ For example, that Tuymans seeming ability to paint any historical figure, here Condoleezza Rice, in monochromatic tones has become a mannerism.

Luc Tuymans, The Secretary of State, 2005, oil on canvas

Luc Tuymans, The Secretary of State, 2005, oil on canvas

Thomas Hirschorn

Thomas Hirschorn

We looked at the blog  structureandimagery.blogspot.ie, a contemporary art blog by Paul Behnke, which showed images of recent shows in Lower Manhattan and it was proposed that from the work shown, Saltz did have a valid criticism to make of current shows in New York.

AGAINST

Against Saltz’s argument, we looked at Scott Stack, Richard Roth and Tomma Abts, all influenced by artists such as Christopher Wool, mentioned in the article, but not falling into any neo-mannerist cliché, it was suggested. Lynette Yiadom-Boakye, seen in this year’s Turner Prize, was also cited as an artist whose work, at least, challenged the viewer’s assumptions about what contemporary figure painting could be.

Christopher Wool Untitled 2010 screen printing ink and enamel paint on paper

Christopher Wool
Untitled
2010
screen printing ink and enamel paint on paper

Scot Stack City of the Future 2011 oil paint on canvas

Scot Stack
City of the Future
2011
oil paint on canvas

Richard Roth  Shandy 2010 acrylic on MDF

Richard Roth
Shandy
2010
acrylic on MDF

Richard Roth  As Is 2011 acrylic on birch plywood

Richard Roth
As Is
2011
acrylic on birch plywood

Tomma Abts, Zebe, 2010, acrylic and oil on canvas

Tomma Abts, Zebe, 2010, acrylic and oil on canvas

Lynette Yiadom-Boakye

Lynette Yiadom-Boakye

Chris Martin’s work has many influences from music, literature and film. He paints large-scale canvases and ‘paints on records, slices of white bread, pillows, aluminium foil, and uses copious amounts of glitter- materials that seem immune to artspeak’. In a recent interview by Ross Simonini, he was asked, “What’s your definition of ‘bad’ or ‘unsuccessful’?”

CM: ‘Well, that’s a wonderful question, because as an artist it’s very interesting sometimes to say, I’ll try to make a bad one. And often the kind of energy around the bad one is actually great.’

Chris Martin at Mitchell-Innes and Nash Gallery

Chris Martin at Mitchell-Innes and Nash Gallery

We also showed a group of works from the ‘Invisible- Art about the unseen, 1957-2012’ exhibition that was held at the Hayward Galley in 2012. The works were Jeppe Hein’s Invisible Labyrinth, Yves Klein, in the void room, 1961, Tom Friedman, 1000 hours, and Tino Seghal. The argument here was that if mannerism was a result of too much, an excess, then these works would offer some relief. They are visually low-key works, which invoke invisibility to underscore and direct our attention towards the unwritten rules that shape our understanding of art. A contrast to Jerry’s ‘post- formalist formal arrangements of clunky stuff, sticks, planks, bent metal, wood boxes, fabric old furniture, concrete things and whatnot leaned, stacked, piled or dispersed around a clean white gallery.’

Yves Klein in the Void Room (Raum der Leere). 1961

Yves Klein in the Void Room (Raum der Leere). 1961

 Tom Friedman. 1000hrs. 1992

Tom Friedman. 1000hrs. 1992

 Jeppe Hein, Invisible Labyrinth 2005

Jeppe Hein, Invisible Labyrinth 2005

Tino Sehgal

Jerry mentions Bjarne Melgaard at the beginning of the article and we examined his work. He works, sometimes collaboratively, on large-scale expressionistic paintings. His works are said to be created from ‘authentic impulses.’

Bjarne Melgaard and Erik Di Bella

Bjarne Melgaard and Erik Di Bella

Bjarne Melgaard and Ruben Lopez

Bjarne Melgaard and Ruben Lopez

We also looked at images from NCAD Painting department recent graduate, Sam Keogh,’s 2013 show at the Kerlin Gallery, Dublin, ‘Mop.’ The exhibition takes its premise from the character of Oscar the Grouch in the children’s television series Sesame Street, a character who collected dirty, messy and useless objects and whose presence in the programmes was to teach children to tolerate non-normative behaviours. The show consists of a vinyl floor covering, printed from Keogh’s drawings spliced together, spread across the entire floor of the gallery, on which are placed an array of images, sculptures and found objects. Although the presentation of the show ticks several of Saltz’s boxes, the way forms merge in and out of the background of the floor covering, and the way the viewer discovers the show over time and spends time with it and on it, the subtlety of the shifts in scale and consideration of detail and materials , all counteract Jerry’s argument.

Sam Keogh, Mop, 2013

Sam Keogh, Mop, 2013

Sam Keogh, Mop, 2013

Sam Keogh, Mop, 2013

Posted by Madeleine Moore

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