Irish Museum of Modern Art – förlag

"Out of the Dark Room" comprises a selection of more than 150 works drawn from the exceptional collection of modern and contemporary photographs of Irish-American collector David Kronn, which he has pledged to the Irish Museum of Modern Art in its entirety. As diverse as photography itself the collection traces some of the key developments in twentieth century photography's approach to architecture, landscape and portraiture whilst also engaging with the unexpected ways contemporary artists have experimented with the medium.

Published in conjunction with a retrospective at the Irish Museum of Modern Art, Becoming spans the entire career of Alice Maher (born 1956), one of Ireland’s most respected and influential artists. An eclectic mosaic of painting, sculpture, photography and drawing, Maher’s oeuvre often explores the gendered inflections of everyday objects.

Dedicated to Gilliam's late-career sewn and collaged fabric works, this colorful catalog embraces the artist's restless creativity and visionary approach to abstractionA pioneering artist who redefined the boundaries of painting, Sam Gilliam (1933–2022) transformed the medium with his radical approach to color, material and space. Sewing Fields focuses on a lesser-known yet crucial period in Gilliam's later career: that of his sewn and collaged works. His residency at the Ballinglen Arts Foundation in 1993 reshaped his artistic practice. Far from his Washington, DC, studio, Gilliam embraced new materials, working with pre-stained fabrics that he shipped to Ireland, cutting and layering them into sculptural compositions. A collaboration with a local dressmaker further expanded his process, reinforcing his innovative fusion of painting and textile techniques. Sewing Fields brings these groundbreaking works back to the Irish Museum of Modern Art, nearly 50 years after Gilliam's first Dublin exhibition, positioning him within a broader transatlantic dialogue on abstraction.

Featuring poems, artist's projects, film stills and photographs, The Event Horizon presents the work of over 15 European artists and is based on an exhibit held at the Irish Museum of Modern Art. The title of the book is borrowed from an essay by the great Italian filmmaker Michelangelo Antonioni, and refers to the shifting perspective of narrative. The theme of narrative recurs throughout the book, which combines text by the artists with images from their work. Included are Helena Almeida, Anna-Eva Bergman, Marie-Jose Burki, Atom Egoyan, Seamus Farrell, Ann Veronica Janssens, Sigalit Landau, Colin Newman/Malka Sigel (Immersion), Nusret Pasic, Michelangelo Pistoletto, Tim Robinson, Sam Taylor-Wood, Jean-Pierre Temmerman and Mitja Tusek.

Irish artists and writers have played a fascinating role in the story of modernism, and The Moderns traces this story by bringing together exceptional examples of painting and sculpture, photography, film, architecture, literature, music and design, of Irish significance, in an exploration of the development of modern Ireland through its arts in the period from the 1900s to 1970s. Its broad interdisciplinary context proceeds from the recognition that art forms are not mutually exclusive and that the understanding of one may inform another. Here, the paintings of Mainie Jellett, Evie Hone and other advocates of European modernism are juxtaposed with the accomplishments of designer-architect Eileen Gray and writer James Joyce. Also examined are the works and influence of John Millington Synge, Paul Henry and the Yeats family; the impact of Surrealism; postwar connections among Irish and British artists and writers, including Francis Bacon, Louis le Brocquy and Anthony Cronin; and the introduction for the first time of Samuel Beckett as a visual artist through his work Film. The Moderns reflects the groundbreaking Rosc exhibitions from the 1960s and 70s onwards. Minimalism and Conceptualism and the emergence of postmodernism are traced in the works of Brian O'Doherty, Barry Flanagan, Michael Craig-Martin, Sean Scully and James Coleman. The Moderns declares what we know to be the case, but which few publications have examined--that the arts of the past century owe Ireland some of their greatest works.

Dedicated mailing and e-mail campaign to targeted art related media & organisations. Philip Taaffe is arguably one of the most significant artists working in America today. He is considered by both critics and his peers alike to be substantially responsible for the revival and renewed interest in abstraction and abstract art. Taaffe's work features multiple cultural references from both the past and the present, creating multi-layered final images of great complexity and extraordinary beauty that acknowledge the great tradition of Abstract Art initiated by Kandinsky, Kupka and Mondrian. His paintings are equally well rooted in the present time, and somehow could not have been imagined before the world we now live in, bombarded as we are by information technology.

Conversations comprises a selection of more than 100 photographs drawn from the Bank of America Collection. The publication traces the history of photography through the eyes and imagination of iconic photographers such as Harry Callahan, Robert Frank, Dorothea Lange, Paul Strand and Hiroshi Sugimoto.

This artist’s book serves as a retrospective monograph on the Dublin–based multimedia artist Dennis McNulty (born 1970), documenting selected pieces starting with the artist’s submission to the 2004 São Paulo Biennial and continuing through to the present. An electronic musician, McNulty employs audio as a sculptural material in his videos, sculptures, installations and performances.

What We Call Love explores how the notion of love has evolved within the 20th century. How have seismic sociological changes concerning sexuality, marriage and intimacy affected the way we conceive love today? How does visual art, from Surrealism to the present day, deal with love? This book draws on Surrealism's idea of love as "l'amour fou" (mad love) and new visions of love which emerged after the 1960s.Artists include Marina Abramovic and Ulay, Sadie Benning, Louise Bourgeois, Constantin Brancusi, Brassaï, André Breton, Cecily Brown, Sophie Calle, Marcel Duchamp, Elmgreen and Dragset, Nan Goldin, Felix González-Torres, Douglas Gordon, Mona Hatoum, Damien Hirst, Jim Hodges, Rebecca Horn, Ghérasim Luca, Annette Messager, Tracey Moffatt, Yoko Ono, Benjamin Péret, Carolee Schneemann, Rudolf Schwarzkogler, Wolfgang Tillmans, Cerith Wyn Evans and Akram Zaatari.

"A strange and exotic presence in Irish art," "standing alone" and "very un-Irish" were some of the epithets used to describe Patrick Hennessy (1915–80), one of Ireland’s most successful realist painters in the postwar period. Hennessy was educated at Dundee College of Art and in 1937 won a scholarship to Paris where he worked for a time under Fernand Léger. He fused the Surrealist subjectivity he learned there with realism to create works unlike anything being made at the time, including portraits, landscapes, equine studies and still-lifes that found a steady market in Ireland, the UK and the USA. But he painted male nudes and portraits of handsome men that puzzled critics who branded him "something of an outsider." At a time when people were persecuted for their sexual orientation, he made works containing narratives of homosexual life that align him with the queer-art movement that emerged in the 1970s. This publication sheds light on this critically neglected artist and reflects on what his work might mean to an audience today.

Mary Swanzy (1882–1978) was a pioneering figure in Irish art. She was educated in Paris where she exhibited at the Paris Salons as her work rapidly evolved through different styles: postimpressionism, fauvism, cubism, futurism, symbolism and surrealism—each transformed by her in a highly personal way. Following the devastation of World War I she went to Czechoslovakia as an aid worker; in 1923 she literally crossed the world on an epic voyage to Hawaii and Samoa, producing a body of work that is unique in an Irish context. Throughout the ‘20s and ‘30s she exhibited in the USA, Hawaii, UK, Belgium and Ireland, and regularly in Paris at both the Salon des Indépendants and the Beaux-Arts. This publication is the first complete monograph on the artist and aims to introduce the audience to Swanzy’s extraordinary achievements and reinstate her reputation as a modernist Irish master.