Gemma Tipton

  • Elaine Byrne, Walking Sculptures, 2014, wood, chains. Installation view, Limerick City Gallery of Art, Limerick, 2014.
    picks November 05, 2014

    Elaine Byrne

    In 1939, architect, artist, theorist, and theater designer Frederick Kiesler presciently coined the term correalism to refer to the interaction between people and their natural and technological surroundings. This installation by Elaine Byrne addresses the relevance of that concept for our contemporary world. RAUM, 2013, recreates Kiesler’s De Stijl–inspired wooden scaffolding and panel-display structure Raumstadt (City in Space)—originally shown in the Grand Palais, Paris in 1925—as a smaller display for photographs of an abandoned Irish cottage, as well as objects taken from that house, such

  • Mark Clare, For All Mankind, 2011, photographic light stands, kitchen timers, tin-foil, nuts and bolts, dimensions variable.
    picks October 17, 2014

    Mark Clare

    Concerned with the forces and systems that shape and observe us, Mark Clare’s practice easily seems to span disparate elements, but with good curation, it yields a satisfying thesis. Remote Control Technologies, 2011 is a large blue box on wheels housing a video screen, a reconstruction of a 1950s–era portable air-traffic control tower used in the Korean War. Nearby, Ping Pong Diplomacy, 2008—a wooden Ping-Pong table with paddles—refers to a Time magazine–heralded breakthrough in US-China relations in 1971, when the Chinese government issued invitations to US table-tennis players, thawing the

  • Marilyn Lerner, Eight Ovals, 2011, oil on wood, 22 x 30".
    picks September 16, 2014

    Marilyn Lerner

    For anyone who’s been harboring a sneaking suspicion that hard-edged geometric abstraction might be a little—how to put this?—passé, Marilyn Lerner demonstrates its enduring energy: She mines the full potential of this genre of painting with a series of explorations into color, form, and spatial harmonics.

    The exhibition is cleverly developed. Beginning with the relative restraint of Pink Center for S.M., 2012, a painting depicting a series of concentric circles, the show gathers energy through the galleries to break out into the full-on psychedelic exuberance of Eight Ovals, 2011, by the final

  • Left: Miss Behave and the team from the Miss Behave Gameshow at the List Party at Summerhall. Right: Artist Bobby Niven. (Except where noted, all photos: Gemma Tipton)
    diary August 07, 2014

    Fringe Fringe

    IT STARTED GENTLY ENOUGH. Pale sun danced over the green lawns of Modern One and fell across the corrugated polycarbonate sides of the Pig Rock Bothy. Bobby Niven’s elaborate shed will become home to a program of performances and residencies before traveling north to be re-sited in remote Assynt; but for now it housed a clutch of artists drinking wine and appreciating the lull before the coming art storm.

    Held at the same time as the almighty Edinburgh Fringe (49,497 performances of 3,193 shows in just over three weeks), the Edinburgh Arts Festival has always been in a lower key, sometimes little

  • View of “Caoimhe Kilfeather,” 2014.
    picks July 29, 2014

    Caoimhe Kilfeather

    Oiled, pigmented paper in shades of blue hangs in loose panels from a metal frame, screening the gallery from the bustle of the cobbled streets outside. The gallery is located in Dublin’s Cultural Quarter, an area thronged with visitors. Instead of competing with the bustle to capture attention, Caoimhe Kilfeather has constructed a calm, quiet enclosure in which lambent light pacifies the senses.

    Within this renewed atmosphere are sculptural objects. The Kind Thought That Sent Them There (all works 2014) is a small drop-leaf table, with one leaf hanging down, on which sit four blackened cast-bronze

  • Left: Artist Patrick O'Reilly. (Photo: Marina Levitina) Right: Galway International Arts Festival artistic director Paul Fahy. (Except where noted, all photos: Gemma Tipton)
    diary July 18, 2014

    Liver’s Leap

    IN GALWAY CITY ON SUNDAY, the film crowd was leaving as the twenty-sixth Film Fleadh segued into the Galway International Arts Festival. You could spot them easily: baseball caps at breakfast in the hotels, an urgency in the matter of deal-making. The artists had been there awhile too, installing their work, and some had already succumbed to the temptation, pitching imaginary movies at industry shindigs.

    Down on the docks, there was another imaginary artwork. Patrick O’Reilly’s Prelude was installed inside and outside one of the festival’s temporary venues, the Shed, and his large sculpture Thorn

  • View of “Eva Rothschild,” 2014.
    picks July 08, 2014

    Eva Rothschild

    Playful and subversive, yet completely assured in execution, Eva Rothschild’s series of installations at the Hugh Lane Gallery hint at a retelling of the history of sculpture. Klassix, 2013, has the appearance of a Doric column, topped with a hunk of rock. And yet it is black, and the broken segments of a fellow column lying at the base are revealed to have cores of red and green, like giant licorice candies. In Hometeam, 2014, huge Olympic rings—or could they be basketball hoops?—seem to hang in space. Look closer to discover they are supported on steel struts, hidden by long leather strips.

  • Left: Serpentine Gallery cocurator Hans Ulrich Obrist and Serpentine Gallery director Julia Peyton-Jones. (Photo: Jegors Jerohomovičs) Right: Artists John Seth and Anne Tallentire. (Expected where noted, all photos: Gemma Tipton)
    diary June 26, 2014

    Much Ado About Nothing

    IT WAS A PERFECT SUMMER EVENING: Tuesday earlier this month. The sun shone in Kensington Gardens as flocks of joggers breezed by the ever-lengthening line outside the Serpentine Gallery. Names were given, ticked off lists on clipboards, and even the most august were told, “Yes, you still have to queue.” Though as the BBC’s Alan Yentob arrived on a fold-up bicycle, I got the strong impression he was being specially ushered.

    A sense of excitement settled, then thickened. The line was flush with performance artists. There was Nigel Rolfe with Lois Keidan from the Live Art Development Agency; farther

  • Humberto Vélez, The Underdog (EVA International Cup 2014).  Performance view, Limerick Greyhound Stadium, Limerick City, Ireland.
    picks May 05, 2014

    EVA International

    EVA, Ireland’s biennial—this year curated by Bassam El Baroni—opened with a night at the dog track. The Underdog, 2014, an art project by Humberto Vélez, provocatively changed the names of greyhounds used in a race, announcing their new monikers both on panels and in the race commentary itself. Interesting meanings emerged as the announcer shouted developments like “Now Morally Superior is coming up hard on Traditional Family.” The project, which lives on as a video work, merged two cultures as bemused art audiences discovered the language of dog racing to be as impenetrable as art theory can

  • Left: Lismore Castle. (Photo: Paul McAree). Right: Lismore Castle Arts director Eamonn Maxwell with artists Róża Litwa and Agnieszka Polska. (Except where noted, all photos: Pat Crowley)
    diary May 01, 2014

    Fairy-Tale Ending

    LISMORE CASTLE is a neo-gothic fairy tale extravaganza of a place, with high stone walls rising above the Blackwater River, bristling with turrets and battlements and the type of windows that you feel very smug to be sitting at. No wonder Polish star artist Wilhelm Sasnal was inspired to make a body of work for this, the tenth annual exhibition at Lismore Castle Arts, based on fairy tales, and in particular the works of Hans Christian Anderson.

    Sasnal visited Lismore on a recce in 2012, and said it was like traveling back in time. Fellow time travelers for the launch of this stunner of a show

  • Patrick Scott, Meditation Painting 28, 2006, gold leaf and acrylic on unprimed canvas, 48 x 32".
    picks April 03, 2014

    Patrick Scott

    Shown across two spaces—the Irish Museum of Modern Art and Visual Carlow—this magnificent retrospective covers key pieces from the career of Patrick Scott, spanning more than seventy years. The works made before 1970 are mainly at IMMA, and it is fascinating to see the grids, circles, and lines—which came to be so characteristic of his later white and gold, Minimal period—appear in these earlier figurative paintings. In Evening Landscape, 1944, a field of dark brown is intersected by white lines, with a circle outlined to the left. This is echoed in a yellow sun on a narrow red band

  • Brian O’Doherty, Portrait of Marcel Duchamp, 1966, lead 1, slow heartbeat, wood, glass, liquitex, motor, 17 x 17 x 8".
    picks March 30, 2014

    Brian O’Doherty

    Attempting to trace Brian O’Doherty’s artistic concerns through his seven decade career is akin to falling down a rabbit hole. This would undoubtedly please the artist, who delights in the type of misdirection that aims at inspiring deeper thought. His output includes mazelike grids (Vowel Grid, 1970) among other labyrinths-inspired imagery like his rope drawings (notably Rope Drawing #120: Here and Now, 2014) in which warrens of colored segments are teased by ropes in three dimensions to create masterful parallaxes.

    These works, on view as part of a joint exhibition presented by P! and Simone