Despite these criticisms, I believe this is a valuable
Publications, Festivals and Awards punctuate the
book, which will be of much interest to museum
listings of ceramic makers. Each of these sections
professionals. At its most basic, it is an account of
has a historical overview of the achievements of
some of the many forms of commemorative visual
the organisation. A myriad of archive photographs
culture that strive to describe and commemorate
will allow the reader to reminisce and recall
the Great Irish Famine, and as such it is a valuable
the events and people who have shaped the
addition to the literature on the subject.
organisation since 1977.
Anne Hodge is Curator of Prints and Drawings at the
The catalogue of 158 makers is a legacy in itself.
National Gallery of Ireland
Selected because they took part in one or more of the exhibitions to celebrate the organisation’s fortieth year in 2017, it records and references the wealth of current ceramic talent across Ireland. Each maker has a dedicated page, containing two
Ceramics Ireland:
images and their artist statement. Importantly
Celebrating 40 years of makers and community
for the creative clay community, the technical
Byrne, Tina
specifications on how artists’ work was made are
Dublin: Ceramics Ireland. 2019
provided.
Kim Mawhinney So few books are published that relate to craft or Forty years really is a huge achievement for any
the applied arts. This publication will hopefully
arts organisation and to mark this significant
encourage other writers to explore more craft
anniversary, Ceramics Ireland has published a
specialisms in Ireland. Whether you are a
comprehensive review of its activities, members
student, art collector, ceramics enthusiast, or
and exhibitions since its establishment in
a museum curator like myself, this is a critical
1977. The 272-page publication comprises
book that allows us to really appreciate how
archival material and photographs that give
important Ceramics Ireland has been in promoting
the organisation its context. This beautifully-
established and emerging makers over the last 40
designed book includes introductory texts by Dr.
years.
Audrey Whitty, Head of Collections and Learning at the National Museum of Ireland, and the
Kim Mawhinney is Senior Curator of Art at National
current driving forces behind Ceramics Ireland,
Museums NI
Chairperson Elaine O’Riordan and Editor Tina Byrne. The concept and format of the book is extremely well thought through. The history and
Heritage after Conflict: Northern Ireland.
transformation of the organisation is considered
Crooke, Elizabeth and Tom Maguire (eds)
within the initial section, ‘Community in Clay’.
London and New York: Routledge. 2018
Although Ceramics Ireland continues to be a
Dacia Viejo Rose
membership organisation, run by a committee of volunteers, it has certainly not stood still over
Northern Ireland features frequently in studies of
the years. This is evident from its change from
heritage after conflict and case studies often focus
its initial inception as the Craft Potters Society of
on murals, prisons, parades, and anniversaries.
Ireland in 1977, where its objective was ‘To foster
Elizabeth Crooke and Tom Maguire’s volume offers
interest, communication and assistance in pottery
a new collection of insightful reflections on a
matters to members’, to the outward-looking,
selection of cases of conflict heritage in the region.
ambitious and inspirational organisation it is
As editors they bring together contributions
today.
covering familiar terrain from new angles, and less familiar sites of conflict heritage that are mostly
Throughout the publication, sections on
in Belfast. Covering a refreshingly broad range
Exhibitions, Workshops/Demonstrations,
of sites, the book explores both the work that
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