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Maeve Connolly |
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Maeve Connolly is a Lecturer in Film and Animation
at Dun Laoghaire Institute of Art, Design & Technology (www.iadt.ie)
in Dublin, Ireland and she lectures on Visual Culture and Research Methods
in Practice on MAVis,
MA Visual Arts Practices. She is currently writing on a book on artists’
film and video, entitled The Place of Artists' Cinema: Space, Site and Screen
(Intellect Books). Her previous publications include articles in Afterimage,
Boundary 2, CIRCA, Contemporary, Filmwaves, Screen, Third Text and Variant.
She is co-editor of a collection of artists' texts and projects on television
and televisual culture, entitled The Glass Eye (Project Press, 2000), with
contributions from Matthew Buckingham, Bettina Funcke and Andrea Geyer among
others, and she has curated screening programmes and exhibitions such as
Animation
Art Wandering (Darklight Film Festival 2006; Galway Arts Festival 2007)
and The Captain's Road (Dublin, 2002). |
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Selected Publications |
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‘Of
Other Worlds: Nature and the Supernatural in the Moving Image Installations
of Jaki Irvine’, Screen 49, Issue 2, Summer 2008: 203-208 |
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‘Close
Encounters of the Fourth Kind’, In Media Res, MIT Comparative Media
Studies Program, March 2008. |
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"Inside
the Lighthouse" in Gavin Murphy (ed), House Projects: Artworks, Documents,
Analysis, Dublin, 2008: 61-66. |
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“Imaginary
Spaces, Activist Practices” in Liz Burns, Jesse Jones et al, 12 Angry
Films, Dublin: Fire Station Artists’ Studios, 2007: 17-23. |
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“Close Encounters: Cinema, Myth
and Meaning”, Martin Healy: I Want to Believe, Dublin: Royal Hibernian
Academy, 2007. |
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“Cinema Spaces and Structures
at the 52nd Venice Biennale”, CIRCA 121, Autumn 2007: 106-109. |
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“The Necessity of Being Lost”
in Desperate Optimists et al, Made in Liverpool 2006: Beneath the Skin of
the City, Liverpool: Liverpool Biennial, 2007. |
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"Jesse Jones, 12 Angry Films",
The Visual Artists' News Sheet: Critical Review Supplement Issue 1, December
2006: 9. |
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"Reply: The State of Art History
in Ireland", CIRCA: Contemporary Visual Culture in Ireland, 118, Winter
2006: 39. |
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"Parallel Worlds: Contemporary
Irish Film Cultures", in John Hutchinson (ed), Alabama Chrome, Dublin:
Douglas Hyde Gallery, 2006. |
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"Vivienne
Dick", Luxonline, 2006 |
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"A bit of a traveller in everybody:
Traveller Identities in Irish and American Culture" in Diane Negra
(ed) The Irish In Us: Irishness, Performativity and Popular Culture, Duke
University Press, 2006: 282 - 317. |
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“Theorising Irish Animation:
Heritage, Enterprise and Critical Practice” in John Hill and Kevin
Rockett (eds.), National Cinema and Beyond: Studies in Irish Film, 2, Dublin:
Four Courts Press November 2005: 79-89. |
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“Abstraction and Dislocation
in Recent Works by Gerard Byrne”, CIRCA: Irish and International Visual
Culture 113, Autumn 2005: 31-42. |
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“Venice and the Moving Image”,
Afterimage: Journal of Media and Cultural Criticism, 33.1 July 2005: 10-11. |
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“Emporium of the Senses: Spectatorship
and Aesthetics at the 26th São Paulo Bienal”, Third Text, Vol
19, Issue 4, July 2005: 399-409. |
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“The Visible and the Invisible:
A Partial View of Open EV+A 2005”, CIRCA: Irish and International Visual
Culture 112, Summer 2005. |
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“In Conversation: Experience
and Alterity at the 51st Venice Biennale”, Contemporary 74, 2005: 22-24. |
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“São
Paulo: Various Venues: São Paulo Bienal”, Contemporary 69, 2004:
59-60. |
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“Nomads,
Tourists and Territories: Manifesta and the Basque Country”, Afterimage:
Journal of Media and Cultural Criticism, 32.3, November/December 2004: 8-9 |
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“From No Wave to National Cinema:
The Cultural Landscape of Vivienne Dick’s Early Films (1978-1985)”
in Kevin Rockett and John Hill (eds.), National Cinema and Beyond: Studies
in Irish Film, 1, Dublin: Four Courts Press, 2004: 61-76. |
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“Souvenirs of Spectacle”(catalogue
essay), Finola Jones: Artificially Reconstructed Habitats, Canberra: Canberra
Contemporary Art Space, 2004: 13-20. |
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“The Doubled Space of Willie
Doherty’s Re-Run”, Filmwaves Issue 23, Winter 2004: 8-10 |
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“Sighting an Irish Avant-garde
in the intersection of Local and International Film Cultures”, boundary
2: International Journal of Literature and Culture, vol.31 no. 1, spring
2004: 244-265. |
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“A Cause for Celebration? Festivals
of Irish Film At Home and Abroad”, Moving Worlds: A Journal of Transcultural
Writings vol 3 no 1, 2003: 18-32. |
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“Excluded by the Nature of Things?
Irish Cinema and Artist’s Film”, CIRCA: Irish and International
Visual Culture 106, winter 2003: 33-39. |
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“Re-imagined Communities? Ireland,
Europe and the Web as Shifting Sites of Television Discourse,” Irish
Communications Review, vol 9, 2003: 1-7. |
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“Green Screen”, Review of
30 Years On: The Arts Council and the Film Maker, CIRCA: Irish and International
Visual Culture 104, summer 2003, 2-23. |
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“How Things Turn Out, Irish Museum
of Modern Art” (Review), CIRCA: Irish and International Visual Culture
100, summer 2002 |
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“A Crime Dramatically Reconstructed,
Again” (Catalogue text) Greyscale/CMYK, edited by Kate Davis and Rebecca
Gordon-Nesbitt, Glasgow: Tramway, 2002. |
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“Plateau of Humankind: The 49th
Venice Biennale”, (Review) CIRCA 97, Autumn 2001. |
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(as co-editor and contributor) “Between
the Seasons”, The Glass Eye: Artists and Television, edited by Maeve
Connolly and Orla Ryan, Dublin: Project Press, 2000: 42-53. |
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“Siting
Belfast: Context, Audience and the Symbolic Economy
of the City”, (Review/Article) Variant, Vol. 2 No. 7, 1999 |
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“Postcard
from Dublin”, SuperUmbau (Interdisciplinary Urban Project Newspaper)
Winter Edition, 1998
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