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Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

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Contemporary art and post-Troubles Northern Ireland
Author: Declan Long

A vital issue in discussing distinctive group shows has been to explore how 'Northern Irish art' has emerged in dialogue with international art during the post-Troubles period. This book concentrates on the social and political developments pertinent to a study of post-Troubles art. It makes an effort to weave together fundamental background details on the peace process and the Good Friday Agreement with questions regarding the political and theoretical framing of this process of negotiation. Diverse local outcomes of the Agreement are nonetheless acknowledged: from ongoing political problems caused by the ambiguities and inconsistencies of the accord, to material manifestations of 'peace' in the built environment. The book presents thoughts on how 'Northern Irish art' of the post-Troubles era might be critically approached and appraised in light of broader contemporary conditions. It takes the 2005 exhibition of art from Northern Ireland at the Venice Biennale as the departure point for an extended examination of how the representation of 'local' concerns is shaped in relation to wider cultural and economic forces. Much of the book concentrates more directly on the manifold forms of 'ghost-hunting' undertaken by artists during the post-Troubles period. Several significant works by Willie Doherty are singled out for close-reading: photographic series and film narratives that are powerfully undecidable and uncanny in their oblique, unnerving evocations of the landscapes of Belfast and Derry. The book also discusses the haunted spaces of Doherty's practice by reflecting on artists' approaches to time and history.

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Declan Long

stages in their careers and who have gained different levels of profile and critical acclaim. A generous spectrum of art media is also covered: from video and photography (which undoubtedly dominate) to painting, sculpture, performance and other forms of social, situated aesthetics. (Arguably the most thoroughgoing, medium-​specific research on Northern Irish art of this era has been in the area of photography –​and Colin Graham’s Northern Ireland: 30 Years of Photography is the most substantial work produced yet in this field.48) What’s more, among the case studies

in Ghost-haunted land
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The psychogeography of sectarianism in Northern Irish photography
George Legg

entity that implicitly returns us to a discussion about the camera’s role in the capitalist spectacle. Helpfully, however, Northern Irish art-­photography – ­a genre caught between photojournalism, on the one hand, and an artistic practice, on the o­ ther – p­ ushes and pulls around this dilemma. Double negative 95 From its earliest inception in the work of Bill Kirk to the more recent outputs of Mary McIntyre, the category of Northern Irish art-­photography has pivoted around these competing ideas. It is, as Graham has argued, ‘both documentary and art at the

in Northern Ireland and the politics of boredom
Diverse voices

This book focuses on the drama and poetry published since 1990. It also reflects upon related forms of creative work in this period, including film and the visual and performing arts. The book discusses some of the most topical issues which have emerged in Irish theatre since 1990. It traces the significance of the home in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke. The book also focuses on the reconfigurations of identity, and the complex intersections of nationality, gender and race in contemporary Ireland. It shows how Roddy Doyle's return to the repressed gives articulation to those left behind by globalisation. The book then examines the ways in which post-Agreement Northern fiction negotiates its bitter legacies. It also examines how the activity of creating art in a time of violence brings about an anxiety regarding the artist's role, and how it calls into question the ability to re-present atrocity. The book further explores the consideration of politics and ethics in Irish drama since 1990. It talks about the swirling abundance of themes and trends in contemporary Irish fiction and autobiography. The book shows that writing in the Irish Republic and in the North has begun to accommodate an increasing diversity of voices which address themselves not only to issues preoccupying their local audiences, but also to wider geopolitical concerns.

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Francis Stuart’s Black List, Section H (1971)
Gerry Smyth

Francis Stuart remains a controversial figure within Irish literary history. Although ensconced within the Irish literary establishment of the early twentieth century, at the outbreak of World War II Stuart forsook his ‘natural’ intellectual inheritance and moved to Berlin to take up a teaching post. Once there, he accepted an offer from the Nazi propaganda division to make weekly broadcasts to Ireland on a range of supposedly ‘non-political’ matters. His subsequent defence of these actions was complex and arcane, drawing on some of the arguments submitted by fascist sympathisers such as William Joyce (Lord Haw-Haw) and Ezra Pound. Nevertheless, the pall of ‘treason’ continued to hang over Stuart for the remainder of his life – if not in a political sense (Ireland was officially neutral, therefore Stuart was not aiding an ‘enemy’) then certainly in the moral sense of consorting with a repugnant ideology. Black List, Section H is the novel – thirty years in preparation and writing – in which he attempts to explain (although not justify) his actions during the war years, and it raises many important questions for any account of Irish identity – and especially for Irish art - in the years after independence.

in The Judas kiss
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Kathryn Milligan

MILLIGAN 9781526144102 PRINT.indd 193 01/10/2020 14:53 Painting Dublin, 1886–1949 of these different visions mapped out, we can return once more to the panoramic and begin to consider what these artists and artworks contribute to the portrait of the city, its history, and the story of Irish art. The ways in which artists in Ireland have approached the representation of the Dublin have varied in approach, technique, and subject. From Osborne to Mitchell, all these artists have demonstrated a commitment to representing the physical landscape of the city, including

in Painting Dublin, 1886–1949
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Histories, documents, archives
Declan Long

and fiction –​and if we turn back once again to specific circumstances in the North of Ireland, corresponding forms of high anxiety can be highlighted in certain post-​ Troubles curatorial initiatives –​projects driven by post-​conflict ‘archival impulses’ and historicising inclinations. A series of exhibitions at the Golden Thread Gallery in Belfast, Collective Histories of Northern Irish Art has displayed interesting varieties of these ‘hysterical symptoms’. Though in most respects a very conventional proposition –​a plan to stage a series of historical surveys of

in Ghost-haunted land
Fintan Cullen

, ‘the failure’, Barrett says, ‘to produce a body of extreme nationalistic art was . . . because there was no public demand for it’. 41 A trawl through the exhibition lists of the Royal Hibernian Academy, the one major venue for the annual display of art in Ireland from 1826, reveals many Irish subjects, but they are by no means in the majority. 42 Another institution, the Royal Irish Art Union (RIAU), founded in 1839, did

in Cultural identities and the aesthetics of Britishness
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‘Northern Irish art’ in the wider world
Declan Long

47 B2B New terrains: ‘Northern Irish art’ ​ in the wider world What gives place its specificity is not some internalised history but the fact that it is construed out of a particular constellation of social relations, meeting and weaving together at a particular locus. Instead then of thinking of places as areas with boundaries around them, they can be imagined as articulated moments in networks of social relations and understandings, but where a large proportion of those relations, experiences and understandings are constructed on a far larger scale than what

in Ghost-haunted land