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90 minutes of Jessie Homer French's narrative-rich paintings at the intimate setting of @motherstankstation Dublin with GSA's Art Writing troupe. Thank you. Go visit!
Last year’s student exhibition saw Level 6 Fine Art student, Heather O Connor, appropriating a gust of text from J.D. Salinger’s ‘Franny and Zooey’ and stitching it into our virgin gallery walls with wire alongside her equally raw and evocative prints: “You're lucky if you get time to sneeze in this goddam phenomenal world.” #goreyschoolofart
Philip Roth passed away last year at the age of 85. He retired from writing fiction in 2009. No one believed he could stop. He did. As a tribute to his writing and influence our second book to close read this year is 'The Human Stain' (2000). *Image: still from 'Philip Roth: Unleashed' (2-part BBC documentary)
As part of the part-time Art Writing course at GSA, each week one student is asked to write a recap of the day which goes through the editing process. Yesterday no one was designated Recaper, so I took on the job. This is a section from the day in the life of the Art Writing student.
After an open discussion about the big bad artworld (one word) we retreated under the cover of ‘autobiography’ and the intimate world of Jim Jarmusch’s film ‘Paterson’—a director who has a tendency of creating intimate worlds within this one big world. We discussed the idea of fostering small worlds over big worlds in which we share and discuss art with the caring few over the distracted and disconnected many. I opined that artists are caught in this system of self-promotion and exhibiting and that we should learn…(in Maggie Nelson’s words)..."to address no one”. This led to critical musings on money, the day-to-day living of the artist, and what is the solution to the excesses in language, information and desire that we are exposed to and are generated online. We broke for break and then discussed ‘autobiography’ or ‘memoir’ through three examples that I bought to class, one being ‘The Argonauts' by Maggie Nelson. I introduced ‘The Argonauts’ via a conversation between Maggie and Olivia Laing, which traces the pronoun-confusing and gender-burdened journey of a woman “Maggie” having a baby with trans-fluid “Harry” (Dodge). This memoir uses embedded quotation spanning philosophy, gender theory and psychoanalysis against the everyday trials and tribulations of being in a relationship with Harry in a world that wants to name everything and where “A shadow of violence usually drifts over the scene.” We discussed the directness of Maggie's prose, and questioned the use of ‘perhaps’ and ‘maybe’ in criticism and the power of language in the hands of the artist before Lunch. After lunch we watched Jean-Michel Basquiat: The Radiant Child in our cinema. --James Merrigan.
-'The Argonauts' by Maggie Nelson
-'Love of Beginnings' by J.B-Pontalis
-'Priestdaddy’ by Patricia Lockwood
-'Roland Barthes by Roland Barthes'
Shot of PeripheriesOPEN 2018 installation in November. Over the coming weeks we’ll be teasing you with clues of what’s planned for Peripheries 2019, which will open in July. #excited #futureplansinthemaking
NOW on Gorey School of Art's YouTube Channel a conversation with artist Laura Fitzgerald. @iambrianrock
At face value the definitions of “one-liner” do not hold much water for the contemporary artist: a short joke, witty remark, humorous anecdote, gag, jape, jest, laugh. One-liners come with an apology. For some the one-liner is the difference between advertising and art, wit and width. As Dorothy Parker quipped on her own talent for one-liners: “Brevity is the soul of lingerie.” But ironically, like Parker's witticism, the one-liner can spur the imagination; and in rare instances sum up the depths of Being and Time in a few well placed words.
Laura Fitzgerald’s captioned drawings [exhibited last summer at part of Peripheries 2018 at Gorey School of Art] are distilled from a family album of life, work and art experiences that have been orphaned on paper for us to adopt and make our own. Sometimes gestural, other times surgical, the lines of Laura’s drawings are made flesh and blood by the self-effacing captions that unearth the artist’s fractured humour.
In Laura’s world rocks (of all things) are human too; so human they sometimes need therapy. Borne of a self-reflexive personality and temperament acutely aware and open to the social and political world around her, Laura’s current protagonist, Brian, is made of the most bloodless and unwieldy of substances: rock.
On the final day (August 4th at 12pm) of the group exhibition DESTROY ALL HEROES (with David Godbold, William Murray, Joy Gerrard, Raymond Pettibon) exhibiting artist Laura Fitzgerald discussed her work in the flesh with Emma Roche and James Merrigan in the gallery, exploring a scrapbook of subjects, from joy and nihilism to therapy and rocks.