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VISITINGANEXHIBITIONPart2informationandresourcesforsecondlevelteachersandstudentsabouttheexhibitionalicemaherbecoming

5October2012‐3February2013IMMA@NCHatEarlsfortTerrace

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AbouttheExhibition

Catalogue

Curation

Exhibitionspace

EarlsfortTerrace

Becomingisamid‐careerretrospectiveexhibitionoftheworkofAliceMaher,oneofIreland’smostrespectedandinfluentialartists.Featuringpainting,sculpture,photographyandanimation,theexhibitionincludesartworkscreatedoverthecourseofMaher’scareersuchasBerryDress,1994,TheHistoryofTears,2001andMnemosyne,2002.Italsofeaturesanumberofnewworksincludingamajorcommission,Cassandra’sNecklace,2012,atwo‐screenfilminstallationinspiredbyashortscriptbyauthorAnneEnright,madeincollaborationwithfilmmakerVivienneDickandcomposerTrevorKnight.Maherhascreatedanewsite‐specificwork,L’Université,2012andhasre‐createdCellwhichwasinitiallycommissionedfortheexhibitionInaStateinKilmainhamGaolin1991wheretheoriginalworkisstillsituated.

Afully‐illustratedpublicationAliceMaherBecomingaccompaniestheexhibition.Itdocumentstheartist’spracticeoverthepasttwenty‐fiveyearsandincludesessaysandimagesprovidinginformationabouttheartistandherpractice.

TheseincludetextsbyDr.PenelopeCurtis,DirectorofTateBritain,London;Booker‐Prizewinningauthor,AnneEnright;DrEdKrčma,LecturerModernandContemporaryArt,UCC;DrDavidLloyd,ProfessorofEnglishattheUniversityofSouthernCalifornia;DrCatherineMorris,CulturalCo‐ordinator,TrinityCollegeDublin&NationalLibraryofIreland;andSeánKissane,Curatoroftheexhibition.ThecatalogueispublishedbyIMMAanddistributedbyD.A.P.,NewYork.

TheexhibitioniscuratedbySeánKissane,Curator:Exhibitions.

TheIrishMuseumofModernArtisbasedintheRoyalHospitalKilmainham.During2012/13,theMuseumisundergoingmajorrefurbishmentthereforeIMMAisusingatemporaryspaceatEarlsfortTerraceinDublin’scitycentre.

EarlsfortTerracewashometoseveralfacultiesofUniversityCollegeDublin(UCD)between1883and2007afterwhichtheymovedtoitslargercampusinBelfield.IMMA’stemporarygalleryspacesinEarlsfortTerracestillshowtracesofitsformerfunctions‐thedoorsleadingintothegalleryspaceshavenameplatessuggestingformerlecturesandcoursetopics.

ThespaceswerealsousedbytheGardaSíochánaForensicsLaboratoryand,from1981,alargesectionofthebuildinghousestheNationalConcertHall.

Aretrospecctiveisanexhibitionofanartist’spracticeoveraperiodoftime.Itusuallyfeaturestheworkofawell‐establishedartistwhohasbuiltupabodyofworkovertime.

Installationisatermusedtodescribetheplacementofobjectsinaspace.Thecombinationoftheobjectsandthespacecomprisetheartwork.

Site‐specificworkisworkthatiscreatedforaspecificspace.Themeaningoftheworkwouldchangeifitwasremovedfromthatspace.

EarlsfortTerrace

RoyalHospitalKilmainham

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Display

Lighting

TheexhibitionconsistsofadiversebodyofworkbyAliceMaherincludingdrawings,paintings,sculpture,installationandvideoanimation.Itfeaturesarangeofdisplaystrategies.Framedworksarehunginconfigurationsonthewalls,sculpturalobjectsaredisplayedontablesandshelves(BerryDress,1994)oraresuspendedfromtheceiling(TheWilfulPlanet,1997)orsecuredtoawall(RunningGirl,1995).Thewayinwhichtheartworksaredisplayedandthemeansbywhichtheyaredisplayedareveryimportanttotheartist.Forexample,thelongwoodentableonwhichGodchildren,2010,isdisplayedwasdesignedspecificallyforthatartworkandispartoftheartwork.

ManyofMaher’sworksareunderpinnedbyathemeorformpartofaseries,thereforetheyneedtobedisplayedinsuchawaythattheworkscanbegivenconsiderationbothindividuallyandaspartofalargertheme.Forexample,inRoom2,TheThicket,1991,isaseriesofmixedmediadrawingsonpaperfeaturinganadolescentgirlundertakinganumberofactivities.Theworksareindividuallyframedandhungonthewallveryclosetogetherinahorizontalline.Thislinearformat,similartoacomicstrip,enablestheworkstobeviewedindividuallybutalsoaspartoflargernarrative,wherethesamefigure–anadolescentgirl–featuresineachwork.

Mahertakesintoconsiderationthespaceinwhichherworkwillbeseenandincorporatesthemechanismsfordisplayintoherwork.Forexample,theinstallationCell,1991/2012,wasoriginallycreatedinresponsetothedimensionsandconditionsoftheprisoncellsinKilmainhamGaolwherethespaceitselfbecamepartofthework.Insteadofusinganeutral,whiteplinthtoshowsculpturalworks,sheusespurpose‐builtobjectssuchasthetableinGodchildren,2010,orshebypassestheneedforaplinthbyplacingtheworkonthefloororattachingittothewall.

ThebuildingonEarlsfortTerracehasmanylargewindowsandtallceilingswhichallownaturallighttoenter.Theseparategalleryspacesmakeitpossibletochangethelightingconditionsineachspace.Adarkenedspacecanbecreatedtofacilitatethepresentationoffilmandanimationworksalongsidenaturally‐litgalleryspaces.

LightingisaveryimportantelementinAliceMaher’swork,andshehascommissionedlightingdesignerAedinCosgroveofPanPanTheatreCompanytodesigntheatricallightingforthisexhibition.Naturallightiskepttoaminimum,andspotlightingisusedthroughouttheexhibitiontohighlightspecificartworksandtocreatelightingenvironmentsineachspace.

Narrative,similartostory,isatermusedtodescribealinear,sequentialmethodofprovidinginformation.

TheThicket,1991,Room2

Spotlightsarelightswhichcanbemanipulatedtodirectthelightataveryspecificareasuchasanartworkwithoutilluminatingtherestofthespace.

Aplinthisaretangularobjectusedinagalleryspacetodisplaythree‐dimensionalobjectssuchassmallsculptures.

RunningGirl,1995,Annex.

GalleryspaceinEarlsfortTerrace

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TheexhibitionislaidoutinfourteengalleryspacesonthegroundfloorofEarlsfortTerracewhichwereformerlyusedforlecturesandteaching.Thelayoutoftheexhibitionspacesisalongacorridorwhichleadstoalinearencounteroftheartworks.Tobalancethislinearapproach,thelayoutoftheexhibitionmixesstyles,mediaandperiodsineachroom.

Thereisnodesignatedstartingorfinishingpointtotheexhibition,andtheviewerisencouragedtoengagewiththeexhibitioninaself‐directedandopen‐endedway.

Worksfromdifferenttimeperiodshavebeenplacedinthesamespacestoencouragenewassociationsandtohighlightrecurringthemessuchasmemory,timeandtransformation.

Lessfamiliarworkshavebeenchosenoverthoseexhibitedmorefrequently,soastointroducetheaudiencetodifferentpartsoftheartist’spracticeandtochallengetheaudience’sexpectations.

Eachartworkisintendedtobeviewedindependently;however,thereareanumberofoverarchingthemesandnarrativeswhichemergeastheviewertravelsthroughtheexhibition.(seeThemesbelow)

Thelayoutoftheartworksintheexhibitionisintendedtoenabletheviewertoseethethemcloselywhileensuringtheirpreservation.

Theaudience’sexperienceoftheartworksisveryimportanttotheartist.Sheisinterestedinengagingtheviewerbothphysicallyandpsychologically.Maheracknowledgesthatobjectshavedifferentmeaningsandassociationsacrossculturesandthatviewersbringtheirownhistoryandfeelingstobearontheartworks.Shebelievesthattheartistcanlearnfromtheviewer’sexperience.

BorninCo.Tipperaryin1956,AliceMaherstudiedattheUniversityofLimerickandtheCrawfordCollegeofArt,Cork.ShewasawardedaMastersdegreeinFineArtfromtheUniversityofUlsterandaFulbrightScholarshiptotheSanFranciscoArtInstitute.ShehasexhibitedwidelyinIreland,EnglandandtheUnitedStatesandhasrepresentedIrelandinthe22ndSãoPaoloBiennal,1994.

Maher’spracticeincludessculpture,painting,drawing,photographyandfilmanimation.

Layout

Audience/Viewer

TheArtist:AliceMaherArtist’sBiography

AliceMaher

MaincorridorinEarlsfortTerrace

Anoverarchingthemeisaonewhichreferstoalarge,generaltopicsuchasmemoryandwhichmaybereferredtoinseveralworks.

self‐directedmeansthatyoudecideinwhatwayandinwhatorderyouwishtolookattheworks.Open‐endedmeansthattherearemanypossibilitiesandratherthanafixedapproachtotheexhibition.

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MaherhasalongassociationwiththeIrishMuseumofModernArtwithworkinthefollowingexhibitions:FromBeyondthePale,1993;IrishArtNow:FromthePoetictothePolitical,1998;ShiftingGround:FiftyYearsofIrishArt,2000;TírnanÓg,2004andAlteredStates,2009.

OtherexhibitionsincludeFamiliarattheDouglasHydeGallery,Dublin,1994;SwimmersatLeCredacCentred’Art,Ivry‐sur‐Seine,1996;KnotatDublinCityGalleryTheHughLane,Dublin,1999;GorgetattheDavidNolanGallery,NewYork,2000;PortraitsatthePurdyHicksGallery,London,2003;RoodattheGreenonRedGallery,Dublin,2005;Orsola,aninstallationattheOratoriodiSanLodovico,Venice,2006;NaturalArtificeintheBrightonandHoveMuseum,2007;HypnerotomachiaasoloexhibitionattheDavidNolanGallery,NewYork,2008;andGodchildrenofEnantiosintheGalwayArtsCentre,2010andthePurdyHicksGallery,LondonandtheDavidNolanGallery,NewYork,2011.

Maher’sworkisincludedinmanynationalandinternationalcollectionsincludingtheIrishMuseumofModernArt,Dublin;theMetropolitanMuseumofArt,NewYork;ThePompidou,Paris;theBritishMuseum,London;andtheHammondMuseum,LosAngeles.

ThethemeBecomingreferstoMaher’songoingconcernwiththeprocessoftransformationandchange.Thisisevidentinmanyofherworks,forexamplethedrawingsintheBestiarySeries.InfluencedbyHieronymusBosch’sGardenofEarthlyDelights,Maher’ssilhouettefigurestakeonhuman,animalandplant‐likecharacteristics.Inhervideoanimations,TheMusicofThings(Sleep),2009,andFlora,2009,thisconcernwithchangeandtransformationcanbeseenintheprocessofmark‐makinganderasure:weseefigurestransform,grow,shrink,dissolveandmetamorphosewhilethetracesoftheirearlierformsremainvisible.IntheseriesofworksentitledTheThicket,1991,weseeanadolescentgirlwrestlewiththechallengesofbecominganadult.

ManyoftheworksinthisexhibitionsuchasCell,1991,andBerryDress,1994,aremadefromdelicateandperishablematerials,andtheywilltransformthroughtheprocessesofdecayanddisintegration.Theartistalsousesordinaryandoftenoverlookedobjects,suchassnailshells,berries,thornsandnettles,whicharetransformedthroughtheart‐makingprocess.

Theretrospectivenatureofthisexhibitionprovidesanopportunitytoexplorethissenseofbecomingintheartist’spracticeovertime,wherewecanseehowherworkandherideascontinuetoevolveandtobecome.

Exhibitions

InfluencesandThemesBecomingandTransformation

Metamorphosisistheprocessoftransformationbywhichsomethingchangesitsappearance,characteristicsorfunction.ItcomesfromtheGreekmeaningtransformingorchangingform.

Videoanimationsaredrawingscreatedonasinglepagethroughaprocessofdrawinganderasurerecordedovertimeusingaformofstop/govideorecording.

HieronymusBoschGardenofEarthlyDelights,c.1500(detail)

AliceMaher,CockatriceBestiaryDrawings9,2007.

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ThetermBecomingisassociatedwiththeworkofmanyphilosophersincludingSpinoza,DeleuzeandGuattari,andwithHegel’stheoriesofdialecticsinwhich‘becoming’emergesfromtheoppositionalforcesof‘being’and‘notbeing’.

Referencestothepassingoftimeanditsrelationshiptobecomingandtransformationareevidentinmanyworks.Thetimeittakestogrowthelonghair,forexample,featuresinAndromeda,1999,andOmbres,1997.TimestandingstillissuggestedinthesuspendedanimationofRunningGirl,1995.ThepassingoftimeisalsoindicatedinthelabourinvolvedincreatingworkssuchasBerryDress,1994,StaircaseofThorns,1997,andMound,2000–gatheringandassemblingnumerousberriestoformadressorthornstocreateastaircaseormound.

MemoryisanimportantthemeinMaher’swork,evidentintheanimateddrawingsofFlora,2009,whereshecreatesaseriesofdrawingswhichshecontinuouslyerasessothatthemarksormemoryofearlierdrawingscanstillbeseen.Thisisknownasapalimpsest.Thelocationofmemoryisalsosuggestedbysomeofthematerialssheuses–hair,thecoilsofasnail’sshellaswellasinworkssuchasMnemosyne,2002,referringtotheGoddessofmemoryandTheDomeofForgetfulness,1997.

EphemeralityisanotherrecurringthemeinMaher’swork.Itisevidentinheruseofdelicatematerialssuchassnailshellsandperishablematerialssuchasnettlesandrosehips,whichchangeanddisintegrateovertime.Theseworksareveryfragile,andtheyrequirealotofcareintheirdisplayandstorage.Astheywillinevitablydisintegrate,theypresentinterestingchallengesforcollection,preservationanddisplay.

Theartistmanipulatesthescaleofworkstochallengetheviewer’sexpectationsandtogobeyondtheliteral,forexampleinthegianthair‐likeflaxthathangsbesidethetinyfigureofagirlintheredpaintingofFamiliarI,1994.

MythsandfairytalesareanimportantsourceinMaher’sworkandareameansoflinkingpastandpresentconcerns.Someofthetitlesofherworks‐Andromeda,Aphrodite,MnemosyneandCassandra’sNecklace‐refertofemalecharactersfromGreekmythology.Similarly,inheruseofmaterials(berries,hair,thorns,nettles)andhersubjectmatter(smallgirls,woodsandthickets)shemakesreferencetofairytales,forexampleRapunzel,HanselandGretelandSnowWhite.ShealsodrawsonmedievalsourcesinmanyofherworkssuchasCamailandCuirass,fromTheHistoryofTearsseries,2001.

Philosophy

Time

Memory

Ephemerality

Scale

MythsandFairyTales

Apalimpsestisapageortextwhichhasbeenwrittenanderasedtomakewayforanewtext.

Ephemeralreferstothingsthataretemporary,brieforshort‐lived.ThetermcomesfromtheGreekmeaninglastingonlyoneday.

Camailisamedievalhoodofmetalchaintoprotecttheheadandneck.Cuirassisamedievalarmourplatewornoverthechesttoprotectthefrontofthebody.

AliceMaher,Andromeda,1999.

AliceMaher,FamiliarI,1994.

Dialecticsisthephilosophicalunderstandingofdevelopmentasanongoingprocessthroughthecombinationofopposites,forexamplehumandevelopmentwhichtakesaccountofthecontradictorytendenciesofreasonandinstinct.

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SeekingandmaintainingbalanceisevidentinworkssuchasDoubleVenus,2005,andalsointhejuxtapositionofoppositesinworkssuchasGodchildrenofEnantios.

Maherisinterestedindrawingourattentiontoaspectsofanobjectthatmayoftenbeoverlookedbyputtingfamiliarobjectsinunfamiliarorstrangepresentations.ThiscombinationoffamiliarandstrangeisknownastheUncanny.ExamplesincludeBerryDress,1994,whichappearstobeaclothingitemforasmallchild.Oncloserinspection,howeveritturnsouttobemadefromrosehipsattachedtothefabricofadresswithsharppinswhichwouldcausepainratherthancomfortifworn.Similarly,inHelmet(Portrait),2003,thefragilestructuremadeofsnailshellsyetitwouldprovidenoprotectiononimpact;onthecontrary,itwouldprobablycausedamage.

Maher’spracticeincludessculpture,painting,drawing,photographyandfilmanimation.Sheisconstantlyexploringandexperimentingwithnewmaterialsandmethodologiestocreateherwork.Maherusesbothconventionalmaterialssuchaschalk,bronze,acrylicandcharcoalandunconventionalmaterialssuchassnailshells,nettles,berries,eggs,brambles,flaxandrosethorns.Shealsoexperimentswithnewtechnologies,includingvideoanimation,toexpandherpractice.

TitlesareanimportantelementinMaher’swork.Sheusestitleswhichcanhavemultipleorambiguousmeaningsandassociations,forexampleCell,1991,andFamiliarI,1994,tofacilitatetheviewerindrawingoutmeaningfromthework.Thetitlesfunctioninmanyways:somedescribethework(StaircaseofThorns,1997,orRunningGirl,1995),othersindicatethework’sreferencepointsorinfluences(Andromeda,1999,orMnemosyne,2002).Titlescanalsochallengetheviewer’sperceptionwheretheymaysuggestsomethingthatisatoddswith,ordoesn’tfullydescribe,whattheviewerisseeing(Godchildren,2010).

InterdisciplinarycollaborationisaregularfeatureofMaher’swork.AllofhervideoanimationsaresettosoundtracksbycomposerTrevorKnightwithwhomsheregularlycollaborates.ShealsoworkswithlightingdesignerAedínCosgroveofPanPanTheatrewhodesignslightingforherinstallations.Maher’slatestcommissionCassandra’sNecklace,2012,involvesacollaborationwithcomposerTrevorKnight,writerAnneEnright,filmmakerVivienneDickandeditorConnieFarrell.

Balance

TheUncanny

MaterialsandMethodologies

Titles

InterdisciplinaryCollaboration

TheUncannyisatermassociatedwithFreudianpsychology(TheGermanword‘unheimlich’literallymeans‘unhomely’)wheresomethingthatisfamiliarispresentedinawaythatmakesitseemstrangeandunsettling.

Ambiguousmeanssomethingthatcanhaveseveralmeaningsorinterpretations.

EnantiodromiaisaconceptintroducedbythepsychiatristCarlJung,founderofAnalyticalPsychology,whichreferstoaconflictofopposites,wherethereisatendencytocounteradominantforcebyitsoppositeinthepursuitofbalance.

AliceMaher,Helmet(Portrait)2003.

AliceMaher,StaircaseofThorns,1997.

Juxtapositionisthepositioningoftwoobjectsorideasnexttoeachother.

InterdisciplinaryCollaborationisthecollaborationbetweenartistsfromtwoormoreartformdisciplinessuchasmusic,architectureordance.

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GodchildrenofEnantios2010BronzeandWoodRoom5

Thisworkconsistsofamatchingpairofbronzestatuesofamaleandafemalechildwithanumberofseveredheadsattheirfeet.Themultipleheadsarecastfromtheseveredheadofeachofthefigures.Thefiguresareplacedateitherendofalongwoodentablecreatedspecificallyforthiswork.Perhapsbrotherandsisterorplaymates,thechildrenaredressedintraditionalclothingsuggestiveofanearlierera.Theyaresimilartotheporcelainfigurinesfoundinsouvenirshops.AssociatedwithVictorianmemorabilia,theydepictsentimentalandidealisedrepresentationsofchildhood.

Suchobjects,oftenreferredtoaskitsch,areusuallycreatedinporcelainwhichisdelicateandlight‐weightandcanbepainted;yetthesefiguresaremadeinbronze,amaterialassociatedwithlarge‐scale,heavy,monumentalsculptures.Maherplayswiththesenotionsofhighartandkitschbyinvertingthem.Byrecreatingtheseobjectsinbronze,amaterialassociatedwithhighart,sheisthustransformingthembackintohighart.Thefigurinesareenclosedinglassdomeswhichprotectthemandalsorefertoprocessesofcollectionanddisplay.

Thisworkemploysmanycontradictions.Thetwosmallchildrensuggestchildhoodinnocenceyettheseveredheadsattheirfeetsuggestviolentactions.Theirrelaxedposessuggesttheyareunperturbedbytheseveredheadsattheirfeet.ThelatentcrueltyandviolenceofchildhoodissuggestedinmanyofMaher’sworksandisalsoarecurringthemeinGrimm’sfairytales.

DecapitationandseveredheadsfeatureinseveralofMaher’sworkssuchasFlora(2009)andGorget(2001)suggestingtheseparationofmindandbody,headandheart.

Therepresentationofmaleandfemalefiguresinthisworkcansuggestoppositesortwosidesofthesamecoin,theyin‐yangofChinesephilosophyorthearchetypesofanima(female)andanimus(male)associatedwithJungianpsychology.Theyemphasisethecombinationofoppositesinthecreationofthewholeself.Themaleandfemalefigurescanalsobeassociatedwiththemultiplerepresentationsofmaleandfemalefiguresinfairytaleandmythology,suchasHandselandGretelortheprinceandprincess,wheregenderedrolesareaffirmed.

TitleofArtworkDate

MaterialsLocation

Description

Kitschisatermusedtodescribemassproducedobjectsthatimitatetraditionalformsofhighartsuchassculpturesandpaintingsandwhichtendtobesentimentalandsuperficial.

Themes

Highartreferstoculturalobjectsconsideredtobeofvalueinasocietysuchaspaintingandsculpture.Incontemporaryartthistermanditsassociationwithelitismhasbeenchallenged.

Archetypeisauniversallyrecognisedsymbolsuchasthehero,thewiseoldmanorthewickedwitch.

JungianpsychologyreferstothepsychoanalytictheoriesdevelopedbySwisspsychiatristCarlJungintheearly20thcentury.Althoughoriginallycollaborators,Jung’stheoriespresentanalternativepsychoanalyticapproachtothoseofpsychiatristSigmundFreud.

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Mnemosyne(pronouncedne‐mos‐en‐ee)2002Stainlesssteel,copperpiping,condensingunit,corianrefrigerationgasAtrium

Mnemosyneissituatedinthemaincorridorspace.Theworkconsistsofarefrigerationunit,similartoahouseholdfridge,turnedinsideoutandconstructedbyarefrigerationengineerintheshapeofabed.Likeafridge,itcondensesandfreezesmoistureintheairoverthecourseofthedayanddefrostsduringthenight.Theworkiscoldandmoisttothetouch.Mnemosynewasoriginallycreatedasasite‐specificworkforanexhibitioninSwanseaMuseuminWales.Mahercreateditinresponsetoanineteenth‐centurypaintingbyC.R.LeslieRichardMorris,TheDeathofSarahDillwyn,whichdepictsthedeathbedsceneofayounggirl.WhilethispaintinginspiredtheoriginalinstallationofMnemosyne,Maherdoesnotbelieveitiscentraltoanunderstandingofthework,themeaningofwhichevolvesovertimeandinnewcontexts.

Thisworkreferstothegoddessofmemory,Mnemosyne,afigurefromGreekmythology.ThedaughterofGaiaandUranusandthemotheroftheninemuses,sheisalsoconsideredtobethemotherofthearts.MnemosynewasalsooneofseveralriversinHades(theunderworldofthedead).ThesoulsofthedeadhadtodrinkfromtheriverLethes(alsoknownasthe‘AmelesPotamos’riverofforgetfulness)toforgettheirearthlylivessothattheycouldbereincarnated.ButifthesoulsdrankfromtheriverMnemosyneinstead,theywouldremembereverythingintheirlaterreincarnation.

Theworksuggeststhecontradictorydesirestorememberandforget.Thefrozenbedsuggeststherelationshipbetweensleep,deathandforgettingandthedesiretofreezetime,toholdontomemoriesortheelusivedetailsofdreamsbeforetheyfade.ItmakesreferencetofairlytalefiguressuchasSleepingBeautyandSnowWhite,whosuccumbtoadeath‐likestateofsleepasaresultofpoisoning.

Theworkalsosuggestsdeathritualsandmemorialssuchascatafalquesandcenotaphsandmedievaltombeffigies,manyofwhichcanbefoundintheregionofMaher’shome.

The‘Rin‐DaughtersofMnemosyne’isaJapaneseanimetelevisionseriesandmangacartoonaboutanimmortalfemaleprivatedetectiveRinAsougibasedinTokyo.

TheArtWorkDate

MaterialsLocation

Description

Themes

ACatafalqueisaraisedplatform,likeabed,uponwhichadeadpersonislaidoutbeforeburial.

ACenotaphisamemorialtocommemorateabsentdead.Atombeffigyisasculpturalrepresentationofadeceasedpersonusuallydepictedlyingontopofthetomb.

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Cell1991/2012Brambles152x152x152cm(variable)Room6

Thisworkisasite‐specificworkwhichwasfirstcreatedfortheexhibitionInaStateinKilmainhamGaol,Dublin,in1991.TheworkcomprisesbramblessourcedfromthegroundsoftheRoyalHospitalKilmainham,whichwasunderrefurbishmentpriortotheopeningoftheIrishMuseumofModernArtin1991.TheoriginalworkwassituatedinoneoftheprisoncellsinKilmainhamGaol.Itisstillinplace;however,overtime,ithasshrunkandisnowconsiderablysmaller.Thisdrawsattentiontotheephemeralityoftheartworkandthematerialsemployed.

ThisnewworkhasbeencreatedspecificallyfortheexhibitionspaceinEarlsfortTerrace.ItconsistsofbramblessourcedfromCo.Wicklow.Thebramblesaremanuallywovenintoaballshapewhichgraduallybuildsintoalargecircularform.Theworkhasaverystrongsmellandwillshrinkanddecayoverthecourseoftheexhibition.

TheartistcreatedthisworkinresponsetothebleakconditionsoftheprisoncellsinKilmainhamGaolandtheirlonghistoryofincarceration.Theworkcorrespondstothedimensionsofthecellandwilldeteriorateanddiminishovertimeacknowledgingthediminishingexperienceofimprisonmentontheindividual.ThetitleoftheworkCellisdeliberatelyambiguous,referringtogrowth,incarceration,containment,energy,renewal.

TheintertwiningofthebramblesissimilartotheintertwiningofthelongtressesofhairinAndromeda,suggestingaknotorsomethingloopingbackonitself,somethingunresolvedorgoingroundincircles.

TheArtWorkDate

MaterialsDimensions

Location

Description

Themes

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BerryDress1994Rosehips,cotton,paint,sewingpins25x32x24cmRoom10

Thisworkconsistsofrosehipsattachedtocottonfabricwithsewingpinstocreatetheformofadress.Theberriesmakeuptheskirtofthedressandthetoppartofthedressispaintedred.Maherreferstothisasachild’sdressratherthanagirl’sdressacknowledgingthegenderneutralityofthetermchild.

Theworkisdisplayedonatransparentshelfataheightsothatitispossibletoseeunderneathandinsidethedress.Themultiplepinsarevisibleastheypiercetheinteriorofthedressandaresuggestiveofmedievaltorture.Theydrawattentiontocontradictoryassociations;thedressassomethingworntokeepachildwarmandlookpretty,butalsoasomethingthatwouldcauseharm.

Thisworkisveryfragile,anddespitethecaretakeninitsstorageandtransportation,itwilldisintegrateovertime.Statesoffragility,decompositionanddisintegrationareevidentinmanyofMaher’sworks,suchasBeeDress(1994),NettleCoat(1995)andCell(1991/2012).Theworkmixesvariouselementswhichhavemultiple,oftencontradictoryassociations,suchasrosehips(theycanbeusedinfoodanddrinkbutthehairsinsidetheberriescanbeanirritant)andpins(alsousefulbutpotentiallyharmful).

Drawingonmythsandfairytales,thisworksuggeststheinnocenceandcrueltyofchildhoodexploredinfairytalestoriessuchasLittleRedRidingHood,SnowWhiteandSleepingBeauty.

TheArtWorkDate

MaterialsDimensions

Location

Description

Themes

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Cassandra’sNecklace2012Two‐screenvideoinstallationvariable7.5minsAnnex

Cassandra’sNecklace,2012,isaninterdisciplinarycollaborativefilmworkcommissionedbytheIrishMuseumofModernArt.TheworkwasinspiredbyascriptforaplaycalledCassandrabywriterAnneEnrightandinvolvedacollaborationbetweenMaher,composerTrevorKnight,filmmakerVivienneDickandeditorConnieFarrell.

CassandrawasthedaughterofKingPriamandQueenHecubaofTroy.ThegodApollowassotakenwithherbeautythathegaveherthegiftofprophecy,butwhensheangeredhim,heputacurseonhersothatherpowersofprophecywouldneverbebelieved.

TheCassandrametaphorreferstoasituationwhereawarningisdismissedorignored.ThefigureofCassandraisassociatedwiththeexperienceofknowledge,disempowermentandinsanity.Thetongueswhichformthenecklaceinthisworkarelambs’tongues.Theyrefertothecapacityto‘speak/speakintongues’butnottobeunderstood.Insteadoffunctioningastoolsforcommunication,theyformadecorativebutuselessnecklaceornoose.

Inthefilmweseeayounggirllookingatherownreflectioninalargesilverplatter.Shedoesnotspeak.InGreekmythology,theyoungnymphEcholosesherabilitytospeakexcepttorepeatwhatsomeoneelsesays.ShefallsinlovewiththebeautifulNarcissuswhohasfalleninlovewithhisownreflectioninapool.

ContemporaryreferencestothemythofCassandracanalsobefoundinpopularculture.Forexample,intheUStelevisionseriesHomelandthecharacteroftheCIAagentCarrieMathison,playedbyClareDanes,attemptstoresolveaterroristthreatdrawingonherconsiderableintuitiveandcognitiveskills,butherpsychiatriccondition(manicdepression)seemstoeffectherdecision‐makingandhercredibility.TheUSmarine,NicholasBrody,playedbyDamienLewis,isassociatedwiththefigureApollo.

TheArtWorkDate

MaterialsDimensions

DurationLocation

Description

ThemesPhrophecyistheprocessbywhichaperson(aprophet)isunderstoodtobeincommunicationwithadevineforceandisassociatedwithbeingabletopredictthefuture.

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L’Université2012graffitti,spotlightsvariableLectureRoom2

L’Universitéisasite‐specificartworkinoneofthetwolecturerooms.ItwascreatedbytheartistinresponsetothesiteofEarlsfortTerraceanditshistoryasaformercampusofUniversityCollegeDublin(UCD).Overtheyears,manystudentsattendedlecturesinthesespaces,andthebenchesarecoveredintheircommentsandmark‐makingintheformofgraffiti.

Theartistselected120itemsofgraffitiwhicharehighlightedbylow‐hangingspotlightssuspendedfromtheceiling.Thenumeroussuspendedlightsprovidetheonlylightinthelectureroomandcreateaparticularatmosphere.

TheartistselectedthetitleL’Universitéinreferencetothesiteasaformerplaceoflearning;partofUCDwhosepastpupilsincludeJamesJoyceandFlannO’Brien.Thetitlealsomakesreferencetothewiderconceptofthe‘universityoflife’acknowledgingthelearninggainedfromexperience.

Spanninga60‐yearperiod,someofthegraffitiitemsrefertoimportantsocialandpoliticalevents,suchastheHungerStrikesin1981andtheDivorceReferendumin1995.Manyrefertopersonalexperiences,suchaslostlove,whileothers‐names,declarations,songlyrics‐maysimplybetheresultoflecture‐inducedboredom.Theyaremarkersofthehistoryoftheplaceanditswidercontext.LiketheeraseddrawingsinMaher’svideoanimations,theyshowlayersofmarkmakingindicatingthepassingoftime.

TheArtWorkDate

MaterialsDimensions

Location

Description

Graffitiisaformofwritingormarkmaking,usuallyonpublicwallsorpublicspaceswithoutpermission.Itisaveryoldformofpublicmarkmakingandcanindicatesocialdiscontent,gangrivalryorpersonalexpression.

Themes

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Reception

Galleryspaces

Educationspaces

room2

room1

room5

room11

room12

room14

room15

room6

room6

room7 room16

room3

Locationoffeaturedartworks

A.Mnemosyne

B.Cell

C.BerryDress

D.L’Universite

E.GodchildrenofEnantios

F.Cassandra’sNecklace

D

C

E

B

ToAnnex‐‐>F

A

lectureroom1 lectureroom2

room10

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Room1:MyEmpireofDirt

TheFourDirections(2004‐2005)Snailshellsandpolystyrene

Room2:TheThicket

TheMusicofThings(Sleep)(2009)VideoanimationwithsoundbyTrevorKnight

TheHedgeofExperience(1997)Polysilk,wood

TheThicket(1991)Mixedmediaonpaper

TheThicket(1991)Mixedmediaonpaper

TheThicket(1990)Mixedmediaonpaper

TheThicket(1991)Mixedmediaonpaper

TheThicket(1991)Mixedmediaonpaper

Room3:Ombres

Ombres(1997)Charcoalonpaper

TheWilfulPlanet(1997)Bronze

StaircaseofThorns(1997)Rosethornsandwood

Atrium:Mnemosyne

Mnemosyne(2002)Stainlesssteel,copperpiping,condensingunit,corianrefrigerationgas

Room5:Godchildren

Godchildren(2010)Bronze,wood

NightgardenSeries(2007)

Room6:Cell

Cell(2012)Brambles

Room7:HistoryofTears

TheHistoryofTears3(2001)

TheHistoryofTears4(2001)

Camail–TheHistoryofTears(2001)

Cuirass‐TheHistoryofTears(2001)

Ankledeepwoman–TheHistoryofTears(2001)

Room8:PlentyofAir

RedLoop(1994)Acryliconpaper

Hedge(1994)Acryliconpaper

LassoOverhead(1994)Acryliconpaper

RedArch/Archway(1994)Acryliconpaper

PlentyofAir(1994)Acryliconpaper

Bathtime(1994)Acryliconpaper

CowtailandGesture(1994)Acryliconpaper

UndertheCarpet(1994)Acryliconpaper

ThreeObjects(1994)Acryliconpaper

Aphrodite(1994)Acryliconpaper

ThePleasuresofDancing(1994)Acryliconpaper

TheMistake(1994)Acryliconpaper

Room10:Time

BerryDress(1994)Rosehips,cotton,paint,sewingpins

Shard,(2001)bronzeandgoldleaf

LesJumeaux:

Leda(2010)EtchedOstrichEgg

Worms(2010)EtchedOstrichEgg Room11:

Hypnerotomachia‐BestiarySeries(2007)CharcoalonArchespaper

ThePeckingOrder‐BestiarySeries(2007)CharcoalonArchespaper

DoubleJigger‐BestiarySeries(2007)CharcoalonArchespaper

TheCoralTent‐BestiarySeries(2007)CharcoalonArchespaper

OmniumGatherum‐BestiaryDrawings(2007)CharcoalonArchespaper

Cockatrice‐BestiarySeries(2007)CharcoalonArchespaper

familiarII(1994)oilandacryliconcanvas;bronze

Room12:Becoming

Mound(2000)Rosethornsandwood

DomeofForgetfulness(1997)Bronze,crystal,wood

Chaplet(Portrait)(2003)

Mound(Portrait)(2003)Lambdaprint

Helmet(Portrait)(2003) Lambdaprint

Room14:TheMusicofThings

Flora(2009)DualvideoanimationswithsoundbyTrevorKnight

TheDouble(2009)VideoanimationandsoundbyTrevorKnight

Room15:Changeling

TheChangeling(1988)Acryliconpaper

DoubleVenus(2005)PatinatedcastBronze

Room16:familiar

familiarI(1994)Acryliconcanvas;flaxandwood

familiarII(1994)Oilandacryliconcanvas;bronze

Andromeda(1999)Charcoalonpaper

Gorget(2001)Chrome‐platedcastbronzeNinepieces

LectureTheatre:L’Université

L’Université(2012) Installation

Annex

Cassandra’sNecklace(2012)VideoInstallation

RunningGirl(1995)Bronze

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Suggestionsforteachersandtutors

Providetimeforthestudentstolookatandengagewiththeartworks

Providefactualandcontextualinformationabouttheartist,theexhibitionandtheartworks.

Trytofacilitateadiscussionthattakesaccountofthestudent’sobservationsandimpressions.

Encouragestudentsto:o spendsometimelookingattheartworksbeforebeginningadiscussion

o makevisualandwrittennotesabouttheexhibition

o interactwiththeartworkswhereappropriate

o discusstheirimpressionsandobservations

o supporttheirimpressionsandobservationswithexamples

o Thinkaboutthethemestheartistisexploringinherwork: ‐howthesethemesarerealisedinartworksintheexhibition

‐howthesethemesrelatetotheirownlives

o makecomparisonswithotherartistsandartworks

o identifyaspectsoftheexhibitiontheyconsidersuccessfulandunsuccessful

o considerthebroadercontextofAliceMaher’swork:theculturalcontext suchasliterature,film,musicandpopularculturalreferences;thesocial context;thepoliticalcontext.

Researchtheartistandtheexhibition.

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ExhibitionSpaceWhatkindofexhibitionspaceisit–new,old,renovated,etc.?Howmanyroomsandfloorsdoestheexhibitioncomprise?

DisplayHowaretheartworksdisplayed?Whatisthelayoutoftheexhibition?Describethespacesoftheexhibition?Isthereatheme/stotheexhibition?Howis/arethetheme/spresentedthroughouttheexhibition?

AccessHowdovisitorsfindtheirwaythroughtheexhibition?Isitpossibletogetclosetotheartworks?Arethereanyobstaclestogettingaroundthespaces?Considerthefollowingintermsofaccess:space,lighting,information.

SeatingIsthereseatingforvisitorstositandrestand/orcontemplatetheworks?Whatkindofseatingisavailable?Whereisitsituated?

LightingWhatkindoflightingisusedintheexhibition–daylight,artificial,bright,low,spotlight,theatrical?Whataretheeffectsofthelighting?

Information,ReadingandResourceMaterialWhatkindsofinformation,readingandresourcematerialabouttheexhibitionareavailableinthegalleryspaces,atthereceptiondesk,onthewebsite,overthephone,etc.?Aretherelabelsand/orwalltexts,galleryguides,guidedtours,etc.?

SecurityWhatarethesecurityissuesforthisexhibition?Whatsecuritymechanismsareinplace?

MappingtheexhibitionUsetheattachedfloorplantomapouttheexhibitionindicatingthefollowing:

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Furtherreadingandresources

CataloguesAliceMaherBecoming,IMMAandD.A.P.Publishing,NewYork,2012.AliceMaher:NaturalArtifice,BrightonandHoveMuseum,RPL+M,Brighton2007.AliceMaher:NecklaceofTongues.ButlerGallery,Kilkenny;GreenonRedGallery,Dublin;PurdyHicksGallery,London;CoraclePress.CaoimhinMacGiollaLeith,ShiftingGround:SelectedWorksofIrishArt1950‐2000,Dublin;IrishMuseumofModernArt,2001.Knot:AliceMaherDrawsfromtheCollection,DublinCityGallery,TheHughLane,Dublin.DeclanMcGonagleandFintanO’Toole,IrishArtNow:FromthePoetictothePolitical,NewYork;I.C.I.NewYorkinassociationwiththeIrishMuseumofModernArt,Dublin.MedbRuane,AliceMaher:Profile6,Kinsale;GandonEditions,1997.

MagazinearticlesBarbaraA.MacAdam,‘AliceMaher’,ARTnews,Volume110,June2011.DavidGalloway,‘AliceMaher’,ARTnews,May2010.JennieGuy,‘AliceMaher;Bestiary’,Circa,No.122,pp83–85.BrianCurtin,‘SkewedVisions;aninterview’,Art‐Signal,No.5.PatrickTMurphy,‘Fables&Foibles’,IrishArtsReview,Autumn07.JaquiMcIntosch,‘SpectresintheNight’,Magill,September07

EssaysGillPerry:‘Tales,TrailsandTransformations:TheWorkofAliceMaher’inAliceMaher:NaturalArtifice,RPL+M,Brighton2007,pp.10‐19.FionnaBarber:‘Familiar:AliceMaher’(1995)inFintanCullen,ed.,SourcesinIrishArt,AReader,CorkUniversityPress,Cork,2000,p.157.DavidLomas,TheHauntedSelf:Surrealism,Psychoanalysis,Subjectivity,NewHavenandLondon:YaleUniversityPress,2000.ShirleyMadill,MaskandMetamorphosis:AspectsofSurrealisminContemporaryArt,ArtGalleryofHamilton,NationalLibraryofCanadaCataloguinginPublication.DavidLloyd,‘Enantiodrama:OnAliceMaher’sMetamorphoses’,2011,essaytoaccompanyTheGodchildrenofEnantiosexhibitionattheGalwayArtCentre,2010.

PublicationsMarinaWarner,FantasticMetamorphoses,OtherWorlds:WaysofTellingtheSelf,OxfordUniversityPress,2002.MarinaWarner,FromtheBeasttotheBlonde:OnFairyTalesAndTheirTellers,Vintage,NewEdition,1995.ChristaWolf,Cassandra:ANovelandFourEssays,trans.JanVanHeurck,NewYork:FarrarStraussGiroux,1984.BettleheimBruno,TheUsesofEnchantment:TheMeaningandImportanceofFairyTales,Penguin,1991.MignonNixon,FantasticReality:LouiseBourgeoisandtheStoryofModernArt,MITPress,Cambridge(Mass.),2008;JonBird(ed.),OtherWorlds,TheArtofNancySperoandKikiSmith,ReaktionBooks,London,2003,RosemarieTrockel:Dessins,CentreGeorgesPompidou,Paris,2000.

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MythsandFairytalesJacobGrimm,WilhelmGrimm,Grimm’sFairyTales,trans.MargaretHunt,CanterburyClassics,2011.HansChristianAndersen,FairyTalesofHansChristianAndersen,Simon&Brown,2011.JosephCampbell,ThePowerofMyth,Anchor,1991.E.M.Berens,MythsandLegendsofAncientGreeceandRome,CreateSpaceIndependentPublishingPlatform,2011.SirJamesGeorgeFrazer,TheGoldenBough,MacMillanPublishingCo.,Inc.,1963.Ovid,Metamorphoses,trans.DavidRaeburn,Penguin,2004.

WebsitesAliceMaher’swebsite:www.alicemaher.ieGreenonRedGallery,Dublin:www.greenonredgallery.comPurdyHicksGallery,London:www.purdyhicks.comDavidNolanGallery,NewYork:www.davidnolangallery.comAlteredImagesexhibition,www.alteredimages.ieRHAexhibitionTheNightGarden,2007,www.rhagallery.ie/html/exhibitions/maher_07.htmlAliceMaherspeakingattheNationalLibraryofIreland,8March2011,http://catherinemorrisculturalcoordinator.wordpress.com/AliceMaherontheinfluenceofLouiseBourgeois,www.rte.ie/radio/agiantatmyshoulder/SomeofMaher’sarchivalmaterialisavailableattheNationalIrishVisualArtsLibrary,www.nival.ie

ArtTermsIMMA,Whatis_?GlossaryofArtTermswww.imma.ie/en/subnav_112.htm

TateModern,Glossarywww.tate.org.uk/collections/glossary

MuseumofModernArt,NewYork,IndexofArtTermswww.moma.org/collection

ContentandLayout:LisaMoran,Curator:EducationProgrammesSpecialistAdvice:RebeccaDevaney,SecondLevelArtTeacher

WiththanksAliceMaher,SeanKissane,Curator:Exhibitions;MaryCremin,CuratorialCo‐ordinator;ChristineO’Neill,AssistantCurator:EducationandCommunityProgrammes.