Derek Jarman Protest! /anglais

Arts & Photography

Kissane, Seán

Individual Artists

Thames&Hudson

First published to accompany major retrospective exhibitions at West Cork Arts Centre and the Irish Museum of Modern Art (IMMA), this full-color illustrated monograph explores William Crozier’s whole career, taking in the second half of the twentieth century – a key period in the development of British and Irish art. The catalogue is furnished with essays presenting brand new research by renowned art historians and curators, Illuminated by unpublished sources and personal memoirs. What emerges is a picture of the continuum that runs through all of Crozier’s work, revealing a fascinating narrative that, far from a story of transformation from darker, earlier imagery into the apparent hedonism of later landscapes, is one of continuity of purpose in Crozier’s mindset that connects 1950s Britain and Ireland with the concerns of the new millennium.Profoundly affected by postwar existential philosophy, Crozier consciously allied himself and his work with contemporary European art throughout the 1950s and 1960s, towards painters such as Jean Dubuffet, Pierre Soulages, Hans Hartung, and Nicolas de Staël. The landscape became the source of visceral paintings: for Crozier, ravaged landscapes symbolized the torment and fear of the postwar condition at the heart of existentialism. Only ten years separate these images of traumatized humanity from the luxuriantly colorful works inspired by the landscape of West Cork. His early skill as a colorist reaches its zenith in paintings that capture the essence and appearance of the West Cork landscape in ways immediately recognizable to the viewer, but they are also concerned to capture a landscape during a period of great physical and social change. Crozier believed that when painting the Irish landscape he must “Tell the truth. Say it simply.”

William Crozier: The Edge of the Landscape

Hudson, Mark

Crouan, Katharine

Coulter, Riann

Glennie, Sarah

History & Criticism

Piano Nobile

Romuald Hazoumé (born 1962), one of Africa's leading visual artists, has worked with many media throughout his career, but it is for his assemblage-masks that he is best known. These masks consist of discarded oil cans ubiquitous objects in Benin, which Hazoumé repositions to resemble faces. The use of oil cans implicitly criticizes the presence of multinational oil companies in west Africa.

Romuald Hazoumé

Magnin, André

Juncosa, Enrique

Konatè, Yacouba

Houghton, Gerard

Irish Museum of Modern Art

Shahzia Sikander

Over the past 17 years, Shahzia Sikander has worked within the tradition of Indo-Persian miniature painting--creating a dialogue with a traditional form of art while engaging in a transformative task. Over the years, she has built a practice which seeks to understand miniature painting's historical significance as well as its contemporary relevance. This artist's book, which features many paper changes, gatefolds and a die-cut cover, brings the reader through Sikander's practice, which now embraces various media, from drawing and painting to animation. It accompanies Sikander's first major solo museum exhibition in Europe--at the Irish Museum of Modern Art in Dublin--and provides an overview of her work up to 2006. It features essays by the noted Harvard cultural theorist Homi Bhabha and the exhibition curator and noted writer on Modern and contemporary art, Sean Kissane.

Heartney, Eleanor

Bhabha, Homi

Charta/Irish Museum of Modern Art

"People thought we were just Victorian queens who wanted to make little kitten paintings on pillows and be kitschy," quipped Peter McGough, one half of the collaborative duo McDermott &amp; McGough, as he reminisced about the East Village art scene in the 1980s--where the artists met and honed their inimitable style--in a 2003 Artforum interview with Bob Nickas. The artists have since become known for their performative fusion of art and life--namely dressing like Victorian dandies 24 hours a day and embracing archaic photographic techniques such as palladium, gum, salt and cyanotype printing. They are not escapists, however, as Roberta Smith has pointed out. "The allusions to turn-of-the-century dandyism are combined with often explicit references to homoeroticism and to the artists' own sexuality. The implication is that the moral hypocrisies of the Victorian era are still in effect today." Featuring more than 120 images, this volume, released on the occasion of McDermott &amp; McGough's retrospective exhibition at The Irish Museum of Modern Art, Dublin examines two decades worth of the team's photographic work and includes texts by Matthew Higgs, Director of White Columns in New York, and Séan Kissane, Curator of Exhibitions at The IMMA, Dublin.

McDermott & McGough: An Experience of Amusing Chemistry: Photographs 1990-1890

Higgs, Matthew

Carlos Garaicoa (born 1967) addresses the politics and ideologies of his native Cuba through an examination of its architecture. After the 1959 Cuban revolution, many architectural projects and buildings were left unfinished or abandoned in the nation's cities. Adopting Havana as his laboratory, Garaicoa creates provocative visual commentaries on such themes as architecture's ability to alter the course of history, the failure of modernism as a catalyst for social change and the frustration and decay of twentieth-century utopias. Garaicoa makes his critiques through large installations using materials such as crystal, wax candles and rice-paper lamps: in "Bend City" (2007), the artist constructed a city entirely from cut paper, and "The Crown Jewels" (2009) consists of miniature replicas of real-life torture centers, prisons and intelligence networks, all cast in silver. This publication includes new and recent works, and demonstrates the breadth of Garaicoa's witty articulations of architecture and urbanism.

Carlos Garaicoa

ENWEZOR, Okwui

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Books by Kissane, Seán