Contents
Foreword Fiona Kearney
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Modern Families: A Guided Tour
Artist Information
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Acknowledgements
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Foreword
In the year of The Gathering, an initiative to encourage family groups and friends to visit Ireland, Modern Families: Relatives and Relationships in Art is a timely point of reflection on the nature of family. This thoughtful exhibition enables us to think beyond traditional family units to explore the wider resemblances and affinities that exist between people, objects and ideas. Modern Families has been developed by Chris Clarke and
Matt Packer, curators at the Glucksman. This publication considers the themes that unfold throughout the gallery spaces and provides an introduction to the artists selected for the exhibition. Support for Modern Families and the accompanying programme of talks, workshops and curatorial events has been generously provided by the Department of Hispanic Studies, University College Cork, and the Arts Council of Ireland. Fiona Kearney Director, Lewis Glucksman Gallery
Image: Isabel Nolan, Dynamic Interdependent Unity 2009 (detail view) 7
Modern Families
A Guided Tour
In recent times, the traditional family has expanded to incorporate a range of relationships. Including a vast and fluid network of in-laws, half-siblings, acquaintances and partners, the idea of the family is also found across numerous disciplines, from scientific systems of classification to the genealogies of language and culture. Modern Families explores these relationships through artworks by Irish and international artists. In addition to investigating the new dynamics that have arisen through the expansion of the family unit, the exhibition looks at art objects as a family in its own right, as ideas of typology, lineage, connectivity and proximity are revealed in the way the artworks affect and interact with each other.
Throughout the exhibition, several artists reveal the different variations within a series or a body of work. In Nevin Aladag’s mirror installations, the discrepancy between the ‘typical’ family and its everyday reality is revealed. Using the dimensions of the average father, child or couple, the viewer’s reflection never quite matches up to the ideal, and shows the range of family types that fall outside of so-called norms. Trish Morrissey’s photographic series Front features the artist intruding upon snapshot portraits of holidaymakers to become one of their family, while Isabel Nolan’s poetic sculptural works evoke relationships of proximity and distance, tension and expansion.
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Installation view: (left) Eulalia Valldosera, Family Ties II, 2012, (right) Isabel Nolan, Soft Stillness and the Night, 2011
Living Together
The relationship between family members is traditionally portrayed as one of closeness and intimacy. However, the household can also be a site of animosity, conflict and unresolved arguments. Relatives have a special talent for knowing how to aggravate and provoke one another, and, in these works, different family dynamics are explored through humour and drama, caricature and abstraction. Here, we see that domestic life is not always simply a case of ‘happy families’. The underlying tension of family relationships is conveyed in Marko Mäetamm’s 30 Stories, capturing the simmering resentments of marriage and parenthood through blackly comical illustrations. Eulalia Valldosera’s photographic series Family Ties II uses a cast of actors across several images, with the artist choreographing their positions and expressions to suggest different dynamics: the maternal bond, parental absence, and sibling rivalry. The variety of roles enacted by family members is also present in Audrey Reynolds’ 12
plaster and clay sculptures, entitled Second Cousin and Niece Mondain, which veer between outright figuration and archetypal human forms. In Nevin Aladağ’s video Significant Other, a pair of actors take on the roles of numerous couples, from an elderly wife and husband to gay and lesbian partnerships, revealing both the differences and common concerns of various relationships.
Far away, so close
Families no longer even necessarily live together. Relatives are scattered across different geographical locations or separated over generations, so that our relationships with strangers, colleagues and acquaintances might be closer than those with family members. Despite this distance between ourselves and blood relatives or ancestors, the relationship to our family exerts a strong emotional bond that helps us define our own sense of identity. In Chosil Kil’s abstract, ambiguous sculptures, the memory of her deceased father is suggested through inherited heirlooms and patchwork sculptures. This notion of our attachment to others through the assemblage of materials informs Yang Fudong’s video S10, where office co-workers are literally bound to each other by the zippers and buttons of customised uniforms, forcing them
Installation view: (centre) Chosil Kil, Serpentine, 2012, (right) Chosil Kil, O, 2012, (far right) Chosil Kil, No Ice, 2012.
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Installation view: (left) Trish Morrissey, Katy McDonnell, October 5th, 2007, (right) Mark O’Kelly, Heaven’s Gate, 2010
to cooperate together to navigate the workplace. Similarly, an installation of photography and video by Paulien Oltheten explores the ways in which our proximity to others is echoed in the bodily gestures and movements of her subjects.
Different Strokes ...
The family not only refers to traditional arrangements of parents and children; it also encapsulates a range of alternative lifestyles. From counter-cultural attempts at challenging and re-designing the nuclear family unit to the more recent widespread acceptance of mixed marriages and civil partnerships, the family is continually changing to accommodate shifts in society and culture. Mark O’Kelly’s paintings present the commune or cult as one model of alternative living, the followers rapt in their dedication to an appointed leader, while in Gerard Byrne’s video and photography installation New Sexual Lifestyles, actors re-enact a 1972 debate from Playboy magazine exploring liberal attitudes towards marriage and sexual freedom.
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Family Connections
The typologies and connections that constitute families are present throughout the exhibition. The ways in which we determine groupings of individuals or objects may be based on formal resemblance or a shared background, yet also allows for remarkable disparity and difference. A family is always open to outside influences and new additions, and, in this way, continues to evolve.
Detail view: (left) Reto Pulfer, Schr. Leng, 2011, (right) Clemens Krauss, Look Alikes, 2004-2006
Reto Pulfer creates poetic fabric sculptures, composed through fragments of clothing drawn from distant friends and family members. Clemens Krauss’ Look Alikes presents photographic portraits of individuals who simply look like they might be related, revealing our inherent reliance on physical characteristics in determining family members. In Lasse Schmidt Hansen’s sculptures, ideas of repetition and modularity are explored through his use of familiar domestic furnishings, while Isabel Nolan’s work evokes these ideas of containment and expansion through abstract forms and configurations. The interrelation of different artworks in Modern Families represents an expansion of family beyond immediate relations, to include acquaintances, colleagues, partners, and even gallery visitors themselves. It looks at the ways our understanding of families have changed in recent years, and how individuals and objects that share a common origin or affinity can come together in a shared space.
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Modern Families
Artist Information
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Nevin Aladağ Born in Turkey, 1972
In Nevin Aladağ’s works throughout Modern Families, three sets of mirrors represent the dimensions of the average family, couple and group of children. Her ‘portraits’ capture the arbitrary nature of such definitive representations of family, and the impossibility of conforming to such societal norms. Like her video work, Significant Other, where two actors role-play different variations of married, lesbian and gay couples, Aladağ challenges the preconceptions of a typical family. Nevin Aladağ studied sculpture at the Fine Arts Academy in Munich and adopts different media in her works; from performance to video, photography to sculpture, as well as public interventions and site-specific installations. Aladağ’s works have been shown at museums and biennials, including Sharjah Biennale; Museum of Contemporary Art Tokyo; Haus der Kunst Munich; The Hayward Gallery, London; XIV Biennale Internazionale di Scultura, Carrara; Riso Museum, Catania and Palermo; TBA 21, Vienna; 11th Istanbul Biennial; The Al-Mamal Foundation, Jerusalem; OPEN ev+a, Limerick; and 8th Taipei Biennial. Nevin Aladağ lives and works in Berlin.
Exhibition works Family Portrait 2007-2012, 5 mirrors Mirror Children 2011-2012, 2 mirrors Mirror Couple 2011, 8 mirrors Significant Other 2011, HD video, 15:00 mins, colour, sound All works courtesy of the artist and Rampa Sanat Galerisi, Istanbul Image: Nevin Aladağ, Significant Other, 2011 (detail view) 22
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Gerard Byrne Born in Ireland, 1958
The video and photography installation New Sexual Lifestyles demonstrates Gerard Byrne’s interest in the re-creation of important, yet often overlooked, cultural moments. Enacting a 1972 symposium from an edition of Playboy magazine, Byrne’s actors speculate on the future of partnerships following the sexual liberation movement of the 1960s. They take on the roles of different luminaries of the period, including pornographic actress Linda Lovelace, feminist Betty Dodson and Screw magazine editor Al Goldstein to investigate such topical concerns as extra-marital affairs, swinging, homosexuality and group sex. However, the contemporary setting and clothing imbue the scene with a sense of artificiality and an acknowledgement that this is a particularly outdated vision of future mores. Based in Dublin, Gerard Byrne’s exhibitions include shows at Lisson Gallery, London; Whitechapel Gallery, London; Protocinema, New York; Calouste Gulbenkian Foundation, Lisbon; Irish Museum of Modern Art, Dublin; MK Gallery, Milton Keynes; The Renaissance Society, Chicago; and Lismore Castle Arts.
Exhibition works New Sexual Lifestyles 2003, 7 photographs, 3-channel video monitor layout, approx. 54:00 mins, colour, sound Collection of Irish Museum of Modern Art, Dublin
Jack Straw’s Castle uses footage shot in and around a gay cruising spot in a wooden area of Hampstead Heath, London. It is partly an observation of secretive and lesser seen activity, but it also a study of observation itself (looking at people looking at others). These aspects are interposed with scenes of what appears to be a film set – the woods busy with technicians and illuminated with lights. These scenes suggest a different kind of secrecy; viewing what is literally ‘behind the scenes’. Image: Gerard Byrne, New Sexual Lifestyles, 2003 (installation detail) 24
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Chosil Kil Born in Korea, 1975
Chosil Kil’s poetic series of works are dedicated to her late father. Exploring ideas of memory and lineage through abstract forms, Kil evokes his presence in lambskin and cowhide patchwork sculptures, and a ceramic piece that was made from the memory of an antique heirloom that she inherited from him. The ambiguity of the work and her sensitive handling of different materials also imply a sense of the distance between the past and the present, and the inability to convey memory through straightforward representation. Yet lurking within the sculptural forms, animal hides, stripped of their animate forms and rationalised, become a reminder of the physical reality of death. Chosil Kil graduated from the Royal College of Art, London and works mainly with sculpture, performance and text. Her previous exhibitions include shows at Nomas Foundation, Rome; Basel Statements 2013; David Roberts Art Foundation, London; Objectif Exhibitions, Antwerp; Galerie Opdahl, Berlin; The 9th Gwangju Biennale; National Museum of Contemporary Art Korea, Seoul; and Platform Seoul 2009. The artist lives and works in London.
Exhibition works O 2012, clay, sculpting mesh, spray paint, household paint No Ice 2012, cowskin hide, spray paint, wooden frame Serpentine 2012, wooden frames, muslin, acrylics, PVA solution, lambskin, mesh, spray paint, thread, staples, wool, drawing pins Scramble 2012, 16’ speaker, amplifier, MP3, electrical extension Works courtesy of the artist and Galleri Opdahl, Stavanger / Private Collection, Norway Image: Chosil Kil, Scramble, 2010 (detail) 26
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Clemens Krauss Born in Austria, 1979
In Clemens Krauss’ series of photographs and texts, the artist has compiled a typology of individuals who physically resemble each other but who are not related. Revealing how the ways in which we determine familial relationships depends on a reading of shared characteristics and appearances, Krauss’ practice often explores such ideas of individual identity. Working across a range of media, including painting, video, sculpture and photography, the anonymity of the figure is a recurring theme in his works, and points to his ongoing interest in the representation of the isolated individual in mass media. Clemens Krauss studied at the Academy of Fine Art in Berlin. His previous exhibitions include Kunstmuseum Bonn; Kulturhuset Stockholm; Columbus Art Foundation, Ravensburg; Galerie Mikael Andersen, Berlin; Museo Dell’arte del Novocento e del Contemporaneo, Sassari; Goethe Institut Johannesburg; and DNA Galerie, Berlin. Krauss currently lives in Berlin.
Exhibition works Look Alikes 2004-2006, 36 C-print photographs and texts on aludibond behind plexiglass Courtesy of DNA Galerie, Berlin
Image: Clemens Krauss, Look Alikes, 2004-2006 (installation detail) 28
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Marko Mäetamm Born in Estonia, 1965
The drawings that make up Marko Mäetamm’s 30 Stories explore the darkly humourous sides of relationships. His illustrations subvert common expectations of marriage and family as a joyful experience; husbands and wives bicker and argue with each other, children are treated as a burden rather than a blessing, and families are constantly at the point of all-out conflict. Simultaneously autobiographical and fictional, Mäetamm‘s works uncomfortably and ironically explore the complex emotional relationships between family members. Marko Maetamm’s previous exhibitions include shows at Nettie Horn, London; Estonie Tonique, Liberte Vabadus; Chateau d’Asnieres, France; National Museum of Fine Arts Taiwan; Brooklyn International Film Festival, New York; Centre Pompidou, Paris, and the 52nd Venice Biennale. He lives and works in Tallinn, Estonia.
Exhibition works 30 Stories 2010, 30 drawings, pen and watercolour on paper Courtesy of Nettie Horn, London
Image: Marko Mäetamm, 30 Stories, 2010 (detail) 30
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Trish Morrissey Born in Ireland, 1967
In her photographic series Front, Trish Morrissey intrudes upon groups of families and friends while holidaying on the British seaside, interjecting herself into these scenes as ‘one of the family’. Taking the place of the mother figure in these outings - whom the individual images are named after - Morrissey relaxes with sunbathers, holds someone else’s infant child, or feigns familiarity with a crowd of strangers. In some cases, she is glaringly out-of-place, and these images capture this tension between the family and the artist. Based in London, Trish Morrissey’s work in photography and film has been previously exhibited at Centre for Contemporary Photography, Melbourne; Impressions Gallery, Bradford; Elaine Levy Project, Brussels; Yossi Milo Gallery, New York; Impressions Gallery, York; Gallery of Photography, Dublin; and Fotogalerie Wien.
Exhibition works Front 2005-2007, 6 C-print photographs mounted on aluminium With thanks to Impressions Gallery for the loan of Front by Trish Morrissey
1. 2. 3. 4. 5. 6. 7.
Tim Etchells, Will Be, 2010 Takahiko Iimura, White Calligraphy Re-Read, 2010 Kay Rosen, Phantom Limb, 1993 / 2011 Michael Stumpf, When We Slow Down, 2008 Michael Stumpf, Fade To Black, 2009 Semâ Bekirovic, How To Stop Falling, 2007 Peter Downsbrough, Apart, 2011 Image: Trish Morrissey, Hayley Coles, June 17th, 2006 (detail)
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Gallery 2
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Isabel Nolan Born in Ireland, 1974
In Isabel Nolan’s sculpture, abstract forms compact upon one another or spread out across the gallery. They evoke ideas of insularity and expansiveness, unity and interrelationship. In Soft Stillness and the Night, a series of curving tendrils stretch through the space, while, in That’s an approach, delicate arcs and curls are juxtaposed with solid steel slabs. In Dynamic Interdependent Unity, the balance of circular forms suggests a wholly enclosed structure through the interplay of its different elements. Nolan’s poetic works imply a range of relationships, from isolation to proximity, powerfully conveying the dynamics that exist between families of individuals and objects. Based in Dublin, Isabel Nolan’s previous exhibitions include shows at Beijing Art Museum of the Imperial City, Beijing; Douglas Hyde Gallery, Dublin; Irish Museum of Modern Art, Dublin; Tanya Bonakdar Gallery, New York; Kerlin Gallery, Dublin; Venice Biennale, Italy; and Centre of Contemporary Art, Geneva.
Exhibition works Dynamic Interdependent Unity 2009, polystyrene, plaster bandage, jesmonite, paint, toughened glass, MDF Soft Stillness and the Night 2011, steel, cotton, foam, thread That’s an approach 2013, mild steel, corten steel All works courtesy of the artist and Kerlin Gallery, Dublin
Image: Isabel Nolan, Soft Stillness and the Night, 2011 (installation view) 34
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Mark O’Kelly Born in Ireland, 1968
The paintings of Mark O’Kelly present another approach to the family, depicting cults and communal gatherings that were often centred around a single patriarchal figure. These works also reveal the attempts by individuals to experiment with traditional family units, despite falling prey to some of the same dysfunctional relationships. Their composition captures the sensibilities of his subjects, portraying the commune as a united mass of undifferentiated equals while, in Heaven’s Gate, the romanticised relationship of individuals to nature is revealed in their rudimentary settlement amongst the parched landscape of cacti and mountains. Exhibiting paintings, vitrines and installations, Mark O’Kelly’s work is the outcome of research that explores the space between photographic documentation and painterly representation. He has previously exhibited his work at Kevin Kavanagh Gallery, Dublin; The Black Mariah, Cork; Limerick City Gallery of Art; Temple Bar Gallery, Dublin; and eva International, Limerick. O’Kelly lives and works in Dublin and Limerick.
Exhibition works Heaven’s Gate 2010, oil on linen Leaders and Followers 2010, oil on linen All works courtesy of the artist
Image: Mark O’Kelly, Leaders and Followers, 2010 (detail) 36
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Paulien Oltheten Born in The Netherlands, 1982
An installation of photographic and video work by Paulien Oltheten looks at the relationships between strangers who share a common society. Through her travels in Japan, Myanmar and Russia, the artist captures the simple yet ingenious ways in which people interact and communicate with each other; a shared umbrella to shade from the sun or the makeshift pulley system that allows neighbours to pass on gifts or messages. These subtle and moving works capture the almost imperceptible gestures of body language that occur when individuals live in close proximity to one another. Paulien Oltheten lives in Amsterdam and works mainly with photography, performance and video. Collecting and analysing the daily gestures and actions of anonymous individuals, her work bridges the distinctions between art and anthropology. Her previous exhibitions include shows at Centre d’art Contemporaine, Saint-Nazaire; Stedelijk Museum, Amsterdam; Nederlands Fotomuseum, Rotterdam; FOAM, Amsterdam; Australian Centre for Contemporary Art, Melbourne; and Galerie Fons Welters, Amsterdam.
Exhibition works Like Romeo and Juliet 2010-2012, installation of 13 C-print photographs and 3 videos All works courtesy of the artist
Image: Paulien Oltheten, Romeo and Juliet, 2010-2012 (detail) 38
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Reto Pulfer Born in Switzerland, 1981
In Reto Pulfer’s Schrank series of wall sculptures, pieces of cloth and fabric are stitched together to create abstract patchwork compositions. Collecting these fragments from friends and family members – often living far away from the artist – Pulfer’s work reveals how correspondence and collaboration can occur even over long distances. However, Pulfer’s works also explore notions of typology and differentiation. They mainly use a palette of blue, yellow and white materials, are stretched across asymmetrical frames, and are hung at varying heights. Deceptively ramshackle, they capture the artist’s personal and idiosyncratic vocabulary. Reto Pulfer has previously exhibited in galleries and museums including Kunstverein Nürnberg; Swiss Institute, New York; Hollybush Gardens, London; Istituto Svizzero di Roma, LOGE, Berlin; Kunstlerhaus Braz; D21, Leipzig; Kunstverein Arnsberg; and Galerie Balice Hertling, Paris. He is based in Berlin.
Exhibition works Schr. Leng 2011, silk, linen, wire, ink, cotton, wooden stretcher Schr. Sommer 2011, cotton, ink, linen, wooden stretcher Schr. Statt 2011, silk, ink, cotton, wooden stretcher All works courtesy of the artist and Galerie Balice Hertling, Paris
Image: Reto Pulfer, Schr. Sommer, 2011 (detail) 40
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Audrey Reynolds Born in UK, 1969
The work of Audrey Reynolds balances ideas of figuration and formalism. In Modern Families, her sculptures Second Cousin and Niece Mondain are suggestive of both individual relatives and universal ideals of specific family types. Occupying a space between classical statuary and modernist abstraction, Reynolds’ work explores ideas of the interrelationship between disparate histories and media. Similarly, her use of malleable, unfired materials suggests a sense of impermanence, as if these positions are never wholly fixed. Audrey Reynolds studied at Bath College and Chelsea College of Art, London and is based in London. Her previous exhibitions include shows at Arcade, London; Outpost, Norwich; MOT International, London; The Dock, Carrickon-Shannon; Bluecoat Gallery, Liverpool; and Ancient & Modern, London.
Exhibition works Niece Mondain 2008, plaster, wire, modeling clay, varnish Second Cousin 2008, plaster, wire, modeling clay, varnish Courtesy of the artist and Ancient & Modern, London
Image: Audrey Reynolds, Second Cousin, 2008 (detail) 42
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Lasse Schmidt Hansen Born in Denmark, 1978
Lasse Schmidt Hansen explores ideas around typology and modularity while, at the same time, referencing the surroundings of domestic life. His work here uses the familiar objects of flat-pack furniture and lighting fixtures to show the variation between sizes and configurations. In Billy 2/294.346.752, the artist has modified an IKEA bookshelf to demonstrate the different possibilities for assembling its constituent parts, while Ohne Titel demonstrates the repetition and variability within a set of massproduced hanging lamps. Lasse Schmidt Hansen lives and works in Frankfurt am Main, Germany and Rotterdam, Netherlands. His practice explores the adherence to and deviation from formalized standards through the appropriation of everyday, domestic objects. He has shown his work in exhibitions at Christian Andersen, Copenhagen; Art Cologne; Heidelberger Kunstverein; Galerie Reinhard Hauff, Stuttgart; Peles Empire, London; KBH Kunsthal, Copenhagen; Daimler Contemporary, Berlin; and Rachel Uffner Gallery, New York.
Exhibition works Billy 2/294.346.752 2005, re-arranged IKEA shelves Ohne Titel 2005, glass, steel, wire Courtesy of the artist and Galerie Reinhard Hauff, Stuttgart
Image: Lasse Schmidt Hansen, Billy 2/294.346.752 2005, (installation view) 44
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Eulalia Valldosera Born in Spain, 1963
Eulalia Valldosera’s photographic series Family Ties II presents a sequence of choreographed situations involving actors portraying different family members. By adjusting their positions, she suggests a range of possible scenarios, from the conflict between a father and son to the introduction of a new partner to the maternal bond between mother and children. Through subtle shifts in their body language and facial expressions, Valldosera captures the complex emotions and hidden motivations that underlie human relationships. A graduate of Gerrit Rietveld Academie in Amsterdam, Eulalia Valldosera lives and works in Barcelona. Her work has been previously exhibited at Studio Trisorio, Naples; Galería Maior, Palma; Carroll / Fletcher gallery, London; Impronte Art Gallery, Milan; Galeria La Fábrica, Madrid; MNCARS (Museo Reina Sofía), Madrid; Estudio Trisorio, Naples and Rome; and Galeria Maior, Pollença, Mallorca.
Exhibition works Family Ties II 2012, 9 C-print photographs with aluminium frame Courtesy of the artist and Carroll / Fletcher, London
Image: Eulalia Valldosera, Absence of the the Father, Family Ties II, No.2, 2012 (detail) 46
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Yang Fudong Born in China, 1971
In Yang Fudong’s video work S10, the artist worked with employees of Siemens in Shanghai to create an unusual portrait of communal relationships. Evoking the pressures of close collaboration and competition amongst work colleagues, his subjects are connected through customized uniforms, forcing them to find new ways to achieve their tasks. While there is a playful absurdity to Yang’s video, recalling the team-building exercises of modern businesses, the work also infers ideas of the conflict between collectivity and individualism in contemporary China. Yang initially studied painting at the China Academy of Fine Arts in Hangzhou before developing an interest in photography and film. His previous exhibitions include Documenta XI, Germany; the Shanghai Biennale; the Carnegie International, Pittsburgh; and the Venice Biennale, as well as solo shows at Marian Goodman, New York; Kunsthalle Zurich; and Hara Museum of Contemporary Art, Tokyo. Yang Fudong lives and works in Shanghai.
Exhibition works S10 2003, single-channel video, 8:00 mins, colour, sound Courtesy of Marian Goodman Gallery, Paris
Image: Yang Fudong, S10, 2003 (detail) 48
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Modern Families Relatives and Relationships in Art
Artists: Nevin Aladağ, Gerard Byrne, Chosil Kil, Clemens Krauss, Marko Mäetamm, Trish Morrissey, Isabel Nolan, Mark O’Kelly, Paulien Oltheten, Reto Pulfer, Audrey Reynolds, Lasse Schmidt Hansen, Eulalia Valldosera, Yang Fudong. Curated by Chris Clarke and Matt Packer
MODERN FAMILIES: Relatives and Relationships in Art was presented at the Lewis Glucksman Gallery, University College Cork from 26 July – 3 November 2013. A public programme of artists talks, academic discussions, creative workshops and curatorial events accompanied the exhibition. This publication was prepared by the Glucksman curatorial team, Fiona Kearney, Director, Chris Clarke and Matt Packer, Curators, Lewis Glucksman Gallery. Thanks to: All artists, Ancient and Modern, Terence Birch, Eva Bru-Dominguez, Carroll/Fletcher, Cork University Press, Louise Corry, Tadhg Crowley, DNA Galerie Berlin, Jerome O’Drisceoil, Claire Doyle, Mareta Doyle, Chris Falconer, Brian Fay, Caroline Fennell, Nuala Finnegan, Nicholas Fox Weber, Loretta Brennan Glucksman, Marian Goodman Gallery, Galerie Reinhard Hauff, Balice Hertling, Department of Hispanic Studies, University College Cork, Netttie Horn, Impressions Gallery, Irish Museum of Modern Art, Kerlin Gallery, Silwia Klus, Damian Jones, Catherine McEntee, Stuart McLaughlin, Peter McMorris, Michael Murphy, Bridget O’Gorman, Galerie Opdahl, Mark Poland, Rampa Sanat Galerisi, Kevin Tuohy, Jean Van Sinderan-Law, Gerry Wrixon.
© Lewis Glucksman Gallery, University College Cork, 2013 ISBN:978-1-906642-61-7 All rights reserved. No part of this publication may be reproduced, stored in a retieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking permission of the copyright owners and of the publishers.
Lewis Glucksman Gallery University College Cork Tel: +353 21 490 1844 www.glucksman.org
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