Dublin Round-Up

By Clarke, Chris | Art Monthly, September 2013 | Go to article overview

Dublin Round-Up


Clarke, Chris, Art Monthly


Temple Bar Gallery * Dublin City Gallery The Hugh Lane * Douglas Hyde Gallery * Irish Museum of Modern Art

Starting Over is the title of the group show at Temple Bar Gallery and, as such, it makes an appropriate opening for a trawl through Dublin's summer exhibitions. After all, one must begin somewhere, and this selection of works curated by Mark O'Kelly for the gallery's 30th anniversary emphasises the ways in which hindsight and retrospection affect interpretation. The artists here share a preoccupation with moments of prior artistic activity, in their own practices and those of their forebears, although, like the exhibition's conflating of past and present, these distinctions tend to collapse within each other. Thus, in Scott Myles' appropriation of works by the late Cuban-American artist Felix Gonzales-Torres and in Gerard Byrne's photographs of works by the 17th-century painter Cornelius Gijsbrecht, their position as distanced, detached observers is readily acknowledged. In both cases, the artists utilise the reverse-side of their subjects' images--applying swathes of mirrored screen-printing ink to the back of one of Gonzales-Torres' prints; documenting the wooden stretcher, frame and catalogue labels of Gijsbrecht's canvases--and this tactic highlights the discrepancy between the original moment and the reflective, revisionist interpretation. Elsewhere, Alan Brooks reworks found traces of crudely profane graffiti into painstakingly rendered miniature drawings and paintings, building up his copies over several months and imbuing them with a delicacy and dedication far removed from the originals, while Tacita Dean's Sixteen Blackboards, 1992, recalls an earlier conversation with Cy Twombly and a transformative stage in her own practice, an instant of self-evaluation that, nevertheless, suggests ambivalence, uncertainty and the potential to be effaced with the single swipe of an eraser.

'Looking back in order to move into the future', states the text accompanying 'Starting Over', and this ethos might equally apply to the artist Sean Lynch, whose previous works have delved into moments of historical and cultural significance as source material. While possessing an irreverent, anecdotal quality, Lynch's new exhibition, a blow-by-blow account of stone carving in Oxford at the Dublin City Gallery The Hugh Lane, follows a more thoughtful line of enquiry, exploring the sculptural motifs of 19th-century artisans John and James O'Shea. Their carvings of monkeys on the facade of Oxford's Museum of Natural History led to suspicions of Darwinist leanings, with James O'Shea parodying the authorities as parrots and owls in his subsequent designs. Lynch adheres to an academic, museological display in his installation--photographic documentation, a slide projection and a stone carving of a monkey by Stephen Burke in the presumed style of the O'Sheas--but, like his subjects, he covertly subverts the expectations of his setting. His projection, narrated by Gina Moxley, is anything but dry and dusty, playfully experimenting with the correlations and disjunctions between the chosen imagery and scripted commentary.

Lynch's exhibition is part of The Hugh Lane's 'Sleepwalkers' series, inviting artists to engage in research within the gallery spaces. Lee Welch, whose two exercises in awareness and observation occupy another of The Hugh Lane's spaces to very different effect, presents an elegant display of mirrored shelves, everyday objects, invitation cards and video works. Welch uses the space well, responding to the Italian classical style of the interior with a charmingly wonky pattern of painted vertical stripes, while his organisation of cards according to the 'golden ratio' might allude to the mathematical precision of the gallery's architect William Chambers. At the same time, his arrangement of disparate components, which change throughout the show and which direct visitors to other programmed events and activities, suggests a critical refutation of the traditional museum as a repository of outmoded categorisations and sanctified objects. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Dublin Round-Up
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.