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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.