| |
|
| |
Maeve Connolly |
| |
|
| |
Maeve Connolly is a writer, lecturer and
researcher whose work centres on concepts of public space in
contemporary art and culture, informed by histories of art, film and
television since the late 1960s. Her book on artists’ film and video,
entitled The Place of Artists' Cinema: Space,
Site and Screen (Intellect/University of Chicago Press, 2009)
includes in-depth readings of works by Eija-Liisa Ahtila, Carlos
Amorales, Gerard Byrne, Tacita Dean, Jeremy Deller, Stan Douglas,
Willie Doherty, Aurelien Froment, Pierre Huyghe, Jaki Irvine, Aernout
Mik, Tobias Putrih, Anne Tallentire and Jane & Louise Wilson, among
others.
She is currently working on a new book entitled TV Museum, which
examines the changing relationship between art museums, broadcasting
and concepts of public space in Europe and North America. Encompassing
discussion of artworks, institutions, audiences and exhibitions, the
book develops new approaches to the critical analysis of
television’s past and future. Maeve is currently a Lecturer in
the School of Creative Arts at Dun Laoghaire Institute of Art, Design
& Technology Dublin, Ireland and in 2011-2012, she will be a
research fellow at Internationales Kolleg für
Kulturtechnikforschung und Medienphilosophie (IKKM) , Weimar
Bauhaus University, Germany.
Previous publications include articles and reviews in journals such as
Afterimage, Artforum, Art Monthly, Boundary 2, CIRCA, Contemporary,
Filmwaves, Frieze, Mousse, Screen, Third Text and Variant,
together with a co-edited collection of texts and artists' projects on
television, entitled The Glass Eye (Project Press, 2000),* which
features contributions from Matthew Buckingham, Michelle Deignan,
Bettina Funcke, Andrea Geyer, Brian Hand, Dennis McNulty and Eva
Rothschild, among others. Curatorial projects include screening
programmes and exhibitions such as ‘Citing Cinema in Artists’ Films’
(GFT, Glasgow, 2010), ‘Event-Site: The Place of Artists’ Cinema’
(Picture This, Bristol, 2010), Animation Art Wandering (Darklight
Film Festival 2006; Galway Arts Festival 2007) and The Captain's Road
(Dublin, 2002).
*The Glass Eye is available to buy from Project Arts Centre .
Contact : maeve [at] maeveconnolly [dot] net |
| |
|
| |
Reviews of The Place of Artist's
Cinema |
| |
|
| |
Mo White, Review of The Place of
Artists' Cinema, The Art Book, Volume 17,
Issue 2 May 2010, pp 65-66
Kate Mondloch, ‘Placing
Artists’ Cinema’, Jump Cut 52, Summer 2010.
Robert Porter, Variant 36, Winter 2009:
36-37.
Dan Kidner, LuxOnline, October
2009. |
| |
|
| |
Selected Publications |
| |
|
| |
(Catalogue Essay) ‘Proximity in Public: Laura Horelli’s Video Work’, in Laura Horelli, edited by Kathrin Becker and Sophie Goltz, Berlin: Neuer Berliner Kunstverein, 2011: 20-23. [Published in English and German].
|
| |
(Catalogue Essay) ‘On the Threshold: Artists, Residents and Urban Renewal’, Looking at Overvecht, Other Ways of Picturing the Post-War Housing Estate, edited by Lonnie van Brummelen and Catja Edens, Utrecht: Gemeente Utrecht, 2011: 129 – 152. [Published in English and Dutch].
|
| |
(Exhibition review) ‘Sarah Browne, Project Arts Centre’, Artforum, September 2011: 357-358.
|
| |
(Essay) Architecture, Television, Archaeology: Gerard
Byrne’s subject, 2009, Images or Shadows: Gerard
Byrne, edited by Pablo Lafuente, Dublin: Irish Museum of Modern
Art, 2011: 71-90. |
| |
(Exhibition review) Dougal McKenzie, Third Space
Gallery, Artforum, summer 2011: 419. |
| |
(Exhibition Review), Declan Clarke, Mother’s
Tankstation, Artforum, April 2011: 227. |
| |
(Article) ‘Staging Television: James Coleman’s So Different...and Yet’, Mousse Magazine 27, February 2011: 160-165.
|
| |
(Exhibition Review), ‘School Days’, Lewis Glucksman Gallery, Art Monthly 343, February 2011: 29-30.
|
| |
(Catalogue essay, on the work of Gerard Byrne)
Bradbury and Beyond, The Science of Imagination, edited by
Hajnalka Somogyi, Kati Simon and Thomas D. Trummer, Budapest: Ludwig
Museum, Budapest and Siemens Siftung, 2011: 38-43. |
| |
(Review) ‘re : public’, Art & The
Public Sphere, volume 1, number 1, 2011: 92-97. |
| |
(Essay), ‘Between Space, Site and
Screen’, Actors Explain Biennials in Mandarin, Taiwan:
Taipei Biennial 2010 and Taipei Fine Arts Museum, 2011: 60-70.
[Biennial curated by Hongjohn Lin and Tirdad Zolghadr].
ISBN：978-986-02-6866-9 |
| |
(Book chapter) ‘Celtic Revivals: Jim
Fitzpatrick and the Celtic Imaginary in Irish and International Popular
Culture’ in Linda King and Elaine Sisson (ed.s), Ireland,
Design and Visual Culture: Negotiating Modernity 1922-1992, Cork
University Press, 2011: 251-265. |
| |
(Exhibition Review), Phil Collins, Kerlin Gallery,
Artforum, January 2011, 232-233. |
| |
(Review/Article) ‘Aesthetic Journalism in
Practice: Manifesta 8 and the Chamber of Public Secrets’,
Variant 39/40, Winter 2010: 38-39. |
| |
(Exhibition Review) Haroon Mirza,
‘Anthemoessa’, Mother’s Tankstation, MAP Issue 22,
Summer 2010: 82. |
| |
(Exhibition review) Katie Holten, Hugh Lane Gallery,
Artforum, April 2010: 207-208. |
| |
(Essay),
'A Question Like A Loop', If I Can't Dance, I Don't Want To Be Part Of
Your Revolution Edition III Masquerade, Magazine 5: Sarah Pierce,
Amsterdam: If I Can't Dance, 2010: 5-13. |
| |
(Exhibition review) Fergus Feehily, Douglas Hyde
Gallery, Artforum, January 2010, 213. |
| |
(Essay) ‘Art and (New) Media, Through
the Lens of the IMMA Collection’, What is Series 1, Dublin: IMMA
Education and Community Programmes, 2009: 8-15. |
| |
(Column) ‘Writing After the Exhibition: Tactically
Yours’, The Visual Artists News Sheet November/December 2009: 4.
|
| |
(Essay)‘An Alternative Archive: Vivienne Dick and the
Future of Irish Cinema’, Between Truth and Fiction: The Films of
Vivienne Dick, ed. Treasa O’Brien, London: LUX and The Crawford Art
Gallery, 2009: 70-77. |
| |
(Exhibition review) Garrett Phelan, Mother’s
Tankstation, Artforum, September 2009, 304-305. |
| |
(Dialogue) ‘The Material, The Immaterial, The Shining: Maeve Connolly and Anita Di Bianco in Conversation at the Irish Museum of Modern Art’,
in Anita Di Bianco, Ghostwriter, Braunchsweig: Kunstverein Braunchsweig, 2009, 30-35.
|
| |
(Column)"Writing After the Exhibition: In Absentia",
The Visual Artists News Sheet July/August 2009: 6 |
| |
(Article) City Report – Dublin, Frieze, June 2009.
|
| |
(Exhibition Review), James Coleman, Artforum
(summer 2009), 349. |
| |
(Exhibition Review) Lonnie van
Brummelen and Siebren de Haan, Project Arts Centre, Artforum
March 2009: 254-255. |
| |
(Column)"Writing After the Exhibition", The Visual
Artists News Sheet, March/April 2009: 4. |
| |
(Exhibition Review) "Getting Even: Oppositions +
Dialogues in Contemporary Art", Art Monthly 323, February 2009:
22-23. |
| |
(Catalogue Essay) "Death-Defying Acts" in Gary Coyle,
At Sea: The Daily Practice of Swimming, Dublin: Kevin Kavanagh Gallery
and Project Arts Centre, 2009: 66 -71. |
| |
(Exhibition Review), Ulla von Brandenburg, Irish Museum
of Modern Art, Artforum, December 2008: 313. |
| |
"Memory Flows:
Traffic Series by Jennifer and Kevin McCoy";, From Visualise Carlow
2007-2008, Carlow: Carlow Arts Office, 2008: 20-26. |
| |
(Journal Article) "Looking Backwards into the Future:
Steadicam Cinematography, Narrative Space and Urban Regeneration", The
Irish Review 39.1, Winter 2008: 78-92. |
| |
"Of
Other Worlds: Nature and the Supernatural in the Moving Image
Installations of Jaki Irvine", Screen 49, Issue 2, Summer 2008: 203-208
|
| |
"Close Encounters of the Fourth Kind",
In Media Res, MIT Comparative Media Studies Program, March
2008. |
| |
"Inside the Lighthouse" in Gavin Murphy (ed), House
Projects: Artworks, Documents, Analysis, Dublin, 2008: 61-66. |
| |
"Return Again:
Subjectivity and Spectatorship" in Niamh O’Malley’s ‘Vignettes’, Niamh
O’Malley: Window, Siena: Papesse Centro Arte Contemporanea, 2007:
33-43. |
| |
“Imaginary Spaces, Activist Practices”
in Liz Burns, Jesse Jones et al, 12 Angry Films, Dublin: Fire Station
Artists’ Studios, 2007: 17-23. |
| |
“Close Encounters: Cinema, Myth and Meaning”, Martin
Healy: I Want to Believe, Dublin: Royal Hibernian Academy,
2007. |
| |
“Cinema Spaces and Structures at the 52nd Venice
Biennale”, CIRCA 121, Autumn 2007: 106-109. |
| |
“The
Necessity of Being Lost” in Desperate Optimists et al, Made in
Liverpool 2006: Beneath the Skin of the City, Liverpool: Liverpool
Biennial, 2007. |
| |
"Familiar and Fantastic Journeys", In Context 2: Mythic
Journey and Killinarden Short Shorts, Dublin: South Dublin County
Council, 2006 (unpaginated). |
| |
"Jesse Jones, 12 Angry Films", The Visual Artists' News
Sheet: Critical Review Supplement Issue 1, December 2006: 9. |
| |
"Parallel Worlds: Contemporary Irish Film Cultures", in
John Hutchinson (ed), Alabama Chrome, Dublin: Douglas Hyde Gallery,
2006. |
|
"Vivienne Dick", Luxonline,
2006 |
| |
"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. |
| |
‘Theorising Irish Animation: Heritage, Enterprise and Critical Practice’, National Cinema and Beyond: Studies in Irish Film 2, edited by John Hill and Kevin Rockett (Dublin: Four Courts Press, 2005) 79-89.
|
| |
“Abstraction and Dislocation in Recent
Works by Gerard Byrne”, CIRCA: Irish and International Visual Culture
113, Autumn 2005: 31-42. |
| |
“Venice and the Moving Image”,
Afterimage: Journal of Media and Cultural Criticism, 33.1 July 2005:
10-11. |
| |
“Emporium of the Senses: Spectatorship and Aesthetics
at the 26th São Paulo Bienal”, Third Text, Vol 19, Issue 4, July
2005: 399-409. |
| |
“The Visible and the Invisible: A
Partial View of Open EV+A 2005”, CIRCA: Irish and International
Visual Culture 112, Summer 2005. |
| |
“In Conversation: Experience and Alterity at the 51st
Venice Biennale”, Contemporary 74, 2005: 22-24. |
| |
“São Paulo: Various Venues: São Paulo Bienal”,
Contemporary 69, 2004: 59-60. |
| |
“Life in the Departure Lounge”, Transit: 2004 Fringe
Festival Visual Arts Programme, 2004 (unpaginated). |
| |
“Nomads, Tourists and Territories:
Manifesta and the Basque Country”, Afterimage: Journal of Media and
Cultural Criticism, 32.3, November/December 2004: 8-9 |
| |
“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. |
| |
“Souvenirs of Spectacle”(catalogue essay), Finola
Jones: Artificially Reconstructed Habitats, Canberra: Canberra
Contemporary Art Space, 2004: 13-20. |
| |
“The Doubled Space
of Willie Doherty’s Re-Run”, Filmwaves Issue 23, Winter 2004: 8-10
|
| |
“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. |
| |
“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. |
| |
“Excluded by the Nature of Things? Irish Cinema and
Artist’s Film”, CIRCA: Irish and International Visual Culture 106,
winter 2003: 33-39. |
| |
“Re-imagined Communities? Ireland,
Europe and the Web as Shifting Sites of Television Discourse,” Irish
Communications Review, vol 9, 2003: 1-7. |
| |
“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. |
| |
“How Things Turn Out, Irish Museum of
Modern Art” (Review), CIRCA: Irish and International Visual Culture
100, summer 2002. |
| |
“A Crime Dramatically Reconstructed,
Again” (Catalogue text) Greyscale/CMYK, edited by Kate Davis and
Rebecca Gordon-Nesbitt, Glasgow: Tramway, 2002. |
| |
“Plateau of Humankind: The 49th Venice
Biennale”, (Review) CIRCA 97, Autumn 2001. |
| |
“Between the Seasons”, The Glass Eye: Artists and
Television, edited by Maeve Connolly and Orla Ryan, Dublin: Project
Press, 2000: 42-53.
|
| |
(Exhibition Review) “Barcelona: James
Coleman”, Fondacio Antonio Tapies, CIRCA 91, 2000: 60. |
| |
“Siting Belfast: Context, Audience and the Symbolic
Economy of the City”, (Review/Article) Variant, Vol. 2 No. 7,
1999 |
| |
“Postcard from Dublin”, SuperUmbau
(Interdisciplinary Urban Project Newspaper) Winter Edition, 1998
|
| |
|
| |
|