ART MEMORY PLACE

Photography

MUSIC

In this short excerpt Sean Kissane (Curator, Exhibitions, IMMA) introduces David Kronn and his substantial donation of photographic works to the IMMA permanent Collection, of which comprise the current exhibition, Second Sight: The David Kronn Collection at IMMA. 

This excerpt is taken from the original recording of the Preview Discussion that took place on Thursday 31 July 2014, in the Garden Galleries, IMMA. 

 Image Credits: Doug Dubois, My last day at seventeen, Gazebo, Cork Harbour, Cobh, 2011, 61 x 76 cm, The David Kroon Collection 


Introduction |  The David Kronn Collection + Donation, IMMA : Sean Kissane, David Kronn

Symposium 2014
9 July

Between the 1960s and the 1980s, photography emerged from being viewed as a purely documentary or archival practice to recognition as an art form. In France it entered the Ministry of Culture’s official remit in 1981, but many initiatives had anticipated this development. Viewers and visitors became more diversified, creating a wider and wider public.

Symposium opened by Jean-Noël Jeanneney, President of the Rencontres d’Arles, and François Hébel, Director. 
The beginning of a public for photography: with Lucien Clergue, photographer and founder of the Rencontres d’Arles, and Jean-Luc Monterosso, director of the Maison européenne de la photographie, Paris, and founder of the Mois de la photo in Paris. 
Institutions and their visitors today: with Diane Dufour, director, Le Bal, Paris, Quentin Bajac, chief curator of photography, MoMA, New York, Michael Benson, director of Candlestar, creator of the new Photo London event, and Azu Nwagbogu, founder and director of the African Artist Foundation (AAF), in Lagos. 
Moderated by Pierre Haski, founder and editor-in-chief of Rue89.

Photography: The Shared Art of The 21st Century 1/3

Photographers Ray Metzker, Emmet Gowin, and Jim Dow with Sarah Greenough, senior curator and head, department of photographs, National Gallery of Art. Photography was not invented until the mid-19th century, and the process was not widely taught as an art form until World War II. In 1946 famed Bauhaus photographer and painter László Moholy-Nagy recruited Harry Callahan to teach at the Institute of Design he had established in Chicago. One of the most important schools of photography in 20th-century America, the institute championed such qualities as serendipity and experimentation, setting new standards for the medium and attracting students who would become some of the nation’s finest photographers. While reflecting on his time as a professor, Callahan said, “teaching taught me how little I knew and it forced me to think; I had to teach to get an education.” In this program recorded on March 23, 1996, at the National Gallery of Art, Callahan’s students Ray Metzker, Emmet Gowin, and Jim Dow—all photographers in their own right—recount experiences of their friend and mentor. This program was held in celebration of the exhibition Harry Callahan, on view from March 3 to May 22, 1996, at the National Gallery of Art. 

Harry Callahan: Photographer, Teacher, Mentor

Symposium 2014
10 July

Publishers and collectors: photography’s new public. 
Opened by Hans Rooseboom, curator of the exhibition at the Rijksmuseum, Amsterdam. 

How have publishers contributed to the massive spread of photography?
With Daile Kaplan, vice-president and head of the photography and publications department at Swann Galleries, Xavier Barral, director of Éditions Xavier Barral, Matthieu Charon and Rémi Faucheux, publishers and founders of RVB Books, and Patrick Le Bescont, director of editions Filigranes.

Round table with Claude Hudelot, W. M. Hunt and Artur Walther. 

Moderated by Pierre Haski, founder and editor-in-chief of Rue89.

Photography: The Shared Art of The 21st Century 2/3

The programme, Art | Memory | Place launched with a seminar exploring the role of art and memory. Over the course of 2015-16, this programme will address themes of Art, Memory and Place in the context of the decade of commemorations in Ireland.

Part 1: Keynote Lecture  Centenaries: what are they good for?  by Ann Rigney is Professor of Comparative Literature at Utrecht University and Director of the Utrecht Forum for Memory Studies. She has published widely in the field of cultural memory, including most recently Transnational Memory: Circulation, Articulation, Scales (with Chiara de Cesari, 2014) and Commemorating Writers in Nineteenth-Century Europe: Nation Building and Centenary Fever (with Joep Leerssen, 2014).

See Part 2 for Artists Perspectives on Art and Memory by Shane Cullen, Cecily Brennan and Chloe Dewe Mathews followed by a panel discussion.Chaired by Ailbhe Murphy (Director, Create, Ireland).

This talk took place on 24.10.2015 at IMMA.

Art | Memory | Place - Part 1: Centenaries: What are they good for?  Ann Rigney

The programme, Art | Memory | Place launched with a seminar exploring the role of art and memory. Over the course of 2015-16, this programme will address themes of Art, Memory and Place in the context of the decade of commemorations in Ireland.

Part 2 : Artists Perspectives on Art and Memory by Shane Cullen, Cecily Brennan and Chloe Dewe Mathews followed by a panel discussion.  Ailbhe Murphy (Director, Create, Ireland) chairs a closing discussion.

Also see Part 1 for a  Keynote Lecture titled Centenaries: what are they good for? by Ann Rigney is Professor of Comparative Literature at Utrecht University and Director of the Utrecht Forum for Memory Studies. 

This talk took place on 24.10.2015 at IMMA.


Art | Memory | Place - Part 2: Centenaries, What are they good for? Artists Perspectives

PANEL 2 |  Rememberance and Forgetting

Introduced and chaired by Dr. Karen Till, Maynooth University, the following papers were presented by: 

Dr Kieran Cashell (LIT): Haunted by the Spectral Past: Remembrance and Forgetting in Walter Benjamins Theory of Anamnesis. 

Dr Lisa Foran (Newcastle University): Deciding What to Forget: Memorialisation and The Politics of the Future. 

Sue Rainsford (TCD/IADT) : Fragmentation & Embodiment in the work of Susan Philipsz. 

Kerry Guinan (NCAD)presented her paper : ‘What for..?’ Trauma and the Political in Artur Zmijewski’s 80064.

Closing Discussion
This Research Seminar took place on the 13.11.15 at IMMA

Art | Memory | Place Research Seminar PANEL 2 : Remembrance and Forgetting

PANEL 4 | Archive 
Introduced and chaired by Dr. Brian Fay (Dublin Institute of Technology) papers were  presented by; 
 Mirjami Schuppert (Ulster University): Memory Play - The role of the curator in mediating artistic interventions into photographic archives. 

Martina Cleary (EU Centre for Photographic Research, Newport): The photograph as a site of Mnemonic return, using the photograph to preserve, construct and trigger memory. 

Kirstie North (UCC): Art Historical Memory in Contemporary British Art.
Closing Discussion

This Research Seminar took place on the 13.11.15 at IMMA, Dublin.

Art | Memory | Place Research Seminar | PANEL 4 : Archive /Media

PANEL 3 | Place
Introduced and chaired by Dr.Gerry Kearns (Maynooth University)the following papers were presented by;

Steven  Nestor (IADT ARC): City, Martyred. 

Dr Penny Grennan (Northumbria University): Making the Eiffel Tower Mine – Materialising Memory.  

Dr Silvia Loeffler(Maynooth University): Glas, Deep Mappings of Dun Laoghaire Harbour. 

Joseph Murphy, (NCAD): Willie Doherty, Duncan Campbell: A generational study of contemporary Northern Irish Art.

Closing discussion.

This Research Seminar took place on the 13.11.15 at IMMA



Art | Memory | Place Research Seminar | PANEL 3 : Place

Lucy Soutter discusses her new book Why Art Photography? (Routledge, 2013). 

During the short talk Lucy Soutter will focuses on the chapter “Beyond Photography”, which looks at works of art that combine photographic elements with aspects of painting, sculpture, video, performance, audience participation and installation, pointing to an expanded field or post-medium condition for photography. Examples include works by Walead Beshty, Rachel Harrison, Clifford Owens and JR. While the separation between photography and other art forms may have eroded, the photographic endures as a set of specific reference points and conceptual strategies as well as technologies and forms. This talk argues for the continuing relevance of photographic ideas within the broader arena of contemporary art.

Lucy Soutter is a photographer, critic and art historian. She teaches in the Department of Critical and Historical Studies at the Royal College of Art and has written about contemporary art and photography for publications including Afterimage, Portfolio, Source and frieze. Her essays have appeared in anthologies including Girls! Girls! Girls! in Contemporary Art (Intellect, 2011), and Appropriation (Whitechapel Gallery and MIT Press, 2009). Her book Why Art Photography? (Routledge, 2013) provides a lively, accessible introduction to key debates at the heart of contemporary photography.

Lucy Soutter - Why Art Photography?

IMMA (Irish Museum of Modern Art) is Ireland's leading national institution for the collection and presentation of modern and contemporary art. IMMA TALKS is an activated live programme of talks and events that opens up conversations around the core themes of our exhibition programme, and permanent IMMA Collection, bringing you deeper into the thinking and making of contemporary art.

For further information on IMMA TALKS please contact Sophie Byrne, Assistant Curator, Talks & Public Programmes, IMMA. Email sophie.byrne@imma.ie

Art | Memory | Place - Part 2: Centenaries, What are they good for? Artists Perspectives

IMMA Ireland