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Art and the Nation State is a wide-ranging study of the reception
and critical debate on modernist art from the foundation of the
Irish Free State in 1922 to the end of the modernist era in the
1970s. Drawing on art works, media coverage, reviews, writings and
the private papers of key Irish and international artists, critics
and commentators including Samuel Beckett, Thomas MacGreevy,
Clement Greenberg, James Johnson Sweeney, Herbert Read and Brian
O'Doherty, the study explores the significant contribution of Irish
modernist art to post-independence cultural debate and diverging
notions of national Irish identity. Through an analysis of major
controversies, the book examines how the reputations of major Irish
artists was moulded by the prevailing demands of national identity,
modernization and the dynamics of the international art world.
Debate about the relevance of the work of leading international
modernists such as the Irish-American sculptor, Andrew O'Connor,
the French expressionist painter, Georges Rouault, the British
sculptor Henry Moore and the Irish born, but ostensibly British,
artist Francis Bacon to Irish cultural life is also analysed, as is
the equally problematic positioning of Northern Irish artists.
Sources in Irish Art 2: A Reader is an anthology of literary and
critical sources for the study of visual art and Ireland. It is a
completely new version of the 2000 publication, Sources in Irish
Art with an additional editor, brand new texts with the historical
range stretching from the seventeenth to the twenty-first
centuries. Divided into four sections, Art historiography,
Nationalism and identity, the Wider world, and Art and text, the
sources included are taken from letters, travel diaries,
antiquarian writings, art dictionaries, accounts of collections,
memoirs, essays, exhibition catalogues and reviews, and government
enquiries. The sources range from the letters of Jonathan Swift in
the eighteenth century regarding the conservation of funerary
monuments in St Patrick's Cathedral in Dublin to a 2010 essay on
the impact of the sexuality of the modern Irish artist, Gerard
Dillon on his practice. While many of the earlier sources refer to
art produced in the colonial period, those of the twentieth and
twenty-first century relate to art produced in an independent
Ireland and in the newly created Northern Ireland. In recent years
there has been a dramatic upsurge in research and publishing on
Irish art that has produced new writings and new approaches which
has furthered the rediscovery of forgotten or overlooked texts.
This anthology aims to make such texts easily available to the
general reader, the student or teacher. While well-known names in
Irish art from Jack B. Yeats to Alice Maher feature in this
anthology, the editors also offer commentary from international
voices such as Gustave Courbet, Clement Greenberg, Lucy Lippard and
Thomas McEvilley. The diversity and broad chronological range of
texts offer unique and exceptional insights into the issues and
ideas that influenced the production and responses to art in
Ireland.
`Nobody's Business': The Aran Diaries of Ernie O'Malley presents
new insights into the contradictions and complexities of the mind
of Ernie O'Malley, one of mid-twentieth century Ireland's foremost
cultural critics. In 1941, 1955 and 1956, the former revolutionary
leader and author of the acclaimed memoir of the War of
Independence, On Another Man's Wound, visited the Aran Islands.
While on the islands, O'Malley kept diaries recounting his daily
conversations and interactions with other visitors and islanders
including Elizabeth Rivers, with whom he stayed on one occasion,
Charles Lamb and Sean Keating. The diaries, devoid of sentiment and
often highly critical, reveal his views on art, literature, history
and contemporary Irish life and international affairs as well as
his thoughts on the economic, religious and daily life of the Aran
islanders. His unvarnished observations on the inconsistencies and
hypocrisies of life in post-Independence Ireland make his diaries
absorbing and provocative. Edited with introductory essays by
Cormac O'Malley and Roisin Kennedy and an afterword by Luke
Gibbons, `Nobody's Business': The Aran Diaries of Ernie O'Malley
offers fascinating insights into the mind and opinions of a key
figure in Irish cultural nationalism.
Art is continuously subjected to insidious forms of censorship.
This may be by the Church to guard against moral degeneration, by
the State to promote a specific political agenda or by the art
market, to elevate one artist above another. Now, and in the last
century, artwork that touches on ethnic, religious, sexual,
national or institutional sensitivities is liable to be destroyed
or hidden away, ignored or side-lined. Drawing from new research
into historical and contemporary case-studies, Censoring Art:
Silencing the Artwork provides diverse ways of understanding the
purpose and mechanisms of art censorship across distinct
geopolitical and cultural contexts from Iran, Japan, and Uzbekistan
to Britain, Ireland, Canada, Macedonia, Soviet Russia, and Cyprus.
Its contributions uncover the impact of this silent control of the
production and exhibition of art and consider how censorship has
affected art practice and public perceptions of artworks.
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