August 26, 2016, 14:00 – 16:30, Johnson Suite, IMMA
Get Together 2016
|Chris Clarke||Critical Bastards|
|Eimear Walshe||Jeremy Millar||J J Charlesworth|
|Morgan Qaintance||Nathan O’Donnell|
Each year, in partnership with Visual Artists Ireland, we look at key areas concerning art writing in Ireland. This year we bring editors, writers, artists, and commentators from Ireland and the UK together to have an open discussion about how art writing can be better supported, disseminated and funded as a practice; perhaps even asking the question can it be more than it is already?
This part of Get Together is dedicated to our friend and colleague Jason Oakley, Editor of The Visual Artists News Sheet and Member of AICA Ireland for many years.
This event is part of Get Together 2016. The event also includes a wide range of panel discussions and artists talks. Details of these can be found on the Visual Artists Ireland site. AICA Ireland and AICA International members can avail of the discounted price of 25 Euro for the General Entrance ticket for the day. (Full price is 50 Euro plus booking fee). When asked for the VAI Members Number, put AICA Member. They will then check these details with us.
Alan Phelan studied at Dublin City University and Rochester Institute of Technology, New York. His practice involves the production of objects, participatory projects, curating and writing. These all inform, combine and contribute to an interest in the narrative potential surrounding an artwork. This can be exploited or explored from actual and historical events, ideas, things and places as well as their fictional counterparts. Working in the museum and archive sector has shaped this approach somewhat but more as a counterpoint than agency. Alan is Treasurer of AICA Ireland.
Chris Clarke is Senior Curator of the Glucksman, where he has curated exhibitions including I Went to the Woods: The artist as wanderer; 2116: Forecast of the next century; Everything Must Go: Art and the market; Selective Memory: Artists in the archive; and Fieldworks: Animal habitats in contemporary art. Chris has also curated international exhibitions including Under the Surface: Newfoundland & Labrador at the 55th Venice Biennale; WADE IN at Eastern Edge Gallery, St. John’s, Newfoundland; and The Second Act at Arts Centre de Brakke Grond, Amsterdam. Chris has published numerous texts and reviews of contemporary art and is a frequent contributor to art journals and magazines including Art Monthly, Source, VAN and Photography & Culture.
Critical Bastards is a creative criticism magazine that engages with contemporary visual art and publishes creative writing by artists. Started in Belfast in 2011 and now in its 12th issue, past contributors have included Dennis McNulty, Francis Halsall, Maria Fusco and Adrian Duncan amongst others. Current editors are SuzanneWalsh and Jennie Taylor. Suzanne Walsh is a writer and audio/visual artist from Wexford. Her work has a performative element, with sound and text. Recent performances include IMMA, The International Literature Festival and Burren College of Art. Jennie Taylor is an independent curator, with exhibitions in Sebastian Guinness Gallery, Moxie Studios, Monster Truck Gallery & Studios and The Mart Gallery. Her work currently focuses on performativity, using spoken language and static objects.
Eimear Walshe completed a joint degree in Fine Art and History of Art at the National College of Art and Design, Dublin in 2014. She makes sculptures, videos and performances that play on fictionalised accounts of history, language, humour and gender. Her work is most often situated in spaces that differ from conventional galleries, which create specific challenges in terms of display, audience, and participation. She has shown in Dublin, Longford, and the Netherlands. She has curated exhibitions and residencies such as setup, a device in Dublin 8 and The 46th Lock in Longford.
Jeremy Millar is an artist living in Whitstable, and tutor in art criticism at the Royal College of Art, London. His recent solo exhibitions include M/W, Muzeum Stzuki, Lodz; XDO XOL, Whitstable Biennale; Chandelier, London; The Oblate, Southampton City Art Gallery (2013); Resemblances, Sympathies, and Other Acts, CCA, Glasgow; and Mondegreen (with Geoffrey Farmer), Project Arts Centre, Dublin (both 2011). He conceived Every Day is a Good Day for Hayward Touring, the largest exhibition to date of the visual art of John Cage, which opened at Baltic in June 2010, and has curated many exhibitions nationally and internationally. Millar has also written numerous catalogue essays and published in magazines and newspapers such as Frieze, Art Monthly, and The Guardian; his most recent book is The Way Things Go (Afterall Books, 2007) on the film by Fischli and Weiss.
JJ Charlesworth has been writing about contemporary art since he left Goldsmiths College London in 1996, where he studied art. He now writes regularly on contemporary art for magazines such as Art Monthly, Modern Painters, Time Out London and ArtReview magazine, where he works as associate editor. He is tutor in painting at the Royal College of Art, and is currently researching a doctoral thesis on British art criticism in the 1970s.
Morgan Quaintance is a London-based writer, musician, broadcaster and curator. Born in South London, he is a regular contributor to Art Monthly, Art Review, Frieze, Rhizome.org and a number of curatorial sites and blogs. He is a contributing editor for E-Flux’s online publishing portal Art Agenda, is a founding member of the curatorial collective DAM PROJECTS, and is the 2015/16 curatorial fellow at Cubitt Gallery, London. As a presenter he currently works with the BBC’s flagship arts programme The Culture Show, and is also the producer of Studio Visit, a weekly hour-long interviews-based programme, broadcast on Resonance 104.4 FM, featuring international contemporary artists as guests.
Nathan O’ Donnell is co-editor of Paper Visual Art Journal and a Postdoctoral Research Fellow at the School of English, Trinity College Dublin. His writing about art and architecture is published or forthcoming in The Irish Times, Apollo, gorse journal, The Dublin Review, Architecture Ireland, this is tomorrow, and the Visual Artists’ News Sheet, amongst others. He has been appointed editor of the 1914 British avant-garde journal, BLAST, for the forthcoming OUP Collected Works of Wyndham Lewis, and his own book on Lewis’s art criticism will be published by Liverpool University Press next year. He also writes fiction; in 2015 he was shortlisted for a Hennessy Award and received a Literature Bursary Award from the Arts Council in 2015