Stopress, CCoI January/February 2008 by Design & Crafts Council Ireland

IRISH APPLIED ARTS IN THE COLLECTION P.3 OF THE NATIONAL MUSEUM OF IRELAND

SHOWCASE 2008 P.6

19 News and Reviews P2 P3

Bringing together lovers of fine Irish Craft On the 26th November 2007 the Crafts Council of Ireland (CCoI) launched a new initiative for the fine Irish Craft market in the National Museum of

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Event Álainn - snapshots

Irish Applied Arts @ NMI by Audrey Whitty

Showcase 2008

GANS conference

Craft Community News P9

Donegal wins award

Michael Moore - Taiwan Ceramics Biennale

Ireland. Titled ‘Álainn’ - the Irish word for ‘beautiful’ (pronounced Aw-leen), this is a membership social

Textiles Connections

networking friends / society aimed at anyone who has a passion for or is a collector of ‘beautiful’ Irish Craft. The establishment of Álainn has come about as a direct result of the Council’s consumer research and consumer focused Strategic Plan - which identified the Collectors Market as having very good potential for further exploration and growth. 'Whether it’s delicately sculpted ceramics, elegant jewellery, exquisite silverware or finely crafted furniture, contemporary craft can be an heirloom of the future' said special guest speaker Audrey Whitty, Curator of Ceramics, Glass and Asian Collections of the National Museum of Ireland (also see article on page 3), at Álainn's launch. Through Álainn, collectors and potential collectors of fine Irish craft can further explore their passion for collecting and in addition will have the opportunity to meet with other key players in the contemporary Irish crafts world. For just €50 a year, members are offered invitations to special collectors events, exclusive tours of private and public collections and visits to the studios of some of Ireland’s master craftspeople.They are also entitled to discounts on publications and exhibitions at Ireland’s National Craft Gallery. Most importantly they receive regular communication from the Crafts Council of Ireland on events relating to contemporary craft that will be of interest to them. At the launch, Úna Parsons, CEO of the Crafts Council of Ireland invited all those present to share in her vision for Irish craft. She said “We have an extraordinarily rich heritage in designing and making that continues too quietly today. We need to actively celebrate and proudly promote this heritage and ensure its prosperity into the future. Building active partnerships with the collecting public and the places they buy through Álainn and other initiatives is another step towards building confidence in the market and to increase sales of Irish craft. Membership is certain to lead to a lifelong love affair with Irish craft”. For more information on Álainn and how to join, visit the Crafts Council of Ireland website at: www.ccoi.ie or contact Cornelia McCarthy, CCoI Collector Market Manager at T: 056 7761804 e: cornelia @ccoi.ie Snapshots from the ‘Álainn’ launch are on page 2.

Craft Community Forum P 10 A new dialogue

Opportunities P12

Craft at Bloom 2008 SOFA Opportunity

Craft NI Conference

P 13 Sculpture in the Parklands

CCoI Jewellery & Pottery Open Day

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Retailer Support

GANS & Network Support Research Missions

Showcase seminars

Dates for Diary

Advertisements P 16 Advertisements

Exhibitions - NCG P20

SOFA Review

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Exhibitions 2008

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NCG 2007 Review

Crafts Council of Ireland Newsletter

Event Snapshots

Launch of Álainn at The National Museum of Ireland

Úna Parsons CEO of the Crafts Council of Ireland (CCoI) speaks at the launch

Sonya Perkins (Publisher of Irish Ar ts Review), Audrey Whitty (Curator of Ceramics, Glass and Asian Collections, National Museum of Ireland) and Úna Parsons (CEO of CCoI)

Frances Ruane (Ar t Buyer), Gerr y and Jean Murphy (Showcase Events Limited)

Tom Cullen (Think Media) and Cornelia McCar thy (CCoI Collector Market Manager)

Anne Montgomery (CCoI Board Member), Audrey Whitty (Curator of Ceramics, Glass and Asian Collections, National Museum of Ireland), Jim Dunne (CCoI Board Member) and Úna Parsons (CEO of CCoI)

Odhrán O'Shea admires some of the work on exhibit

Oisín Boydell and Mary Boydell with Audrey Whitty (Curator of Ceramics, Glass and Asian Collections, National Museum of Ireland)

Crafts Council of Ireland Newsletter

News and Reviews

Ernest-Baptiste Lévéillé

Lecture delivered by Audrey Whitty (National Museum of Ireland) at SOFA, Chicago on 3rd November 2007

The origins of the National Museum of Ireland (NMI) date to the foundation of its forerunner the Dublin Science and Art Museum in 1877. At that time and up until the early 20th century the acquisition of contemporary applied arts, both national and international was an important aspect of collecting policy. This situation changed on Independence in 1922 when the collections remit turned almost exclusively to that of historical collecting of Irish decorative and applied arts.

Deirdre McLoughlin, circa 1982,

Image copyright of the National Museum

Vivienne Foley

Image copyright of the National Museum

Angela O’Kelly

Images copyright of the National Museum

Irish Applied Arts in the Collection of the National Museum of Ireland, Collins Barracks, Dublin

In recent years this situation has been modified and the NMI is again in a position to acquire contemporary Irish material for the national collection. Outside of the National Museum’s own acquisitions budget, there is also a joint purchase scheme with the Crafts Council of Ireland (CCoI) since 2004, which has significantly helped in establishing a representative Irish contemporary applied arts collection held at the National Museum, Collins Barracks. In order to underline the international context of past contemporary collecting by the National Museum it is necessary to begin with some significant examples. The first is a late 19th century Art Nouveau vase by Ernest-Baptiste Lévéillé of France, who along with the works of his teacher, Francois-Eugene Rousseau, was acquired by the National Museum within the first decade of its existence. Irish contemporary material was also collected by the National Museum during the late19th/early 20th century, e.g. an Art Nouveau-inspired ceramic vase by Frederick Vodrey of Moore Street, Dublin (active 1872-97), and Neo-Celtic decorated jardinière design by the RHA artist Charles Russell from 1885. Later on after the foundation of the Irish state, contemporary collecting became more intermittent, but never theless significant acquisitions were made, such as ceramics by Kathleen Cox from c. 1930. It is in the ceramics area more than other disciplines where additions to the collection during the 1980s were more prolific. For example, high quality works by Sonja Landweer, Deirdre McLoughlin and Vivienne Foley were all acquired in this decade. These acquisitions bore great foresight as is evident in how successful all three artists have become. Indeed later works by these artists have since been acquired in order to illustrate their artistic progression and development in recent years. The remainder of this lecture will discuss artists whose work is already represented in the National Museum’s collection or which is deemed of sufficient quality to warrant possible inclusion. In the area of jewellery Angela O’Kelly and Berina Kelly both have works in the National Museum’s collection that were acquired under the NMI/CCoI joint purchase scheme. O’Kelly’s artistic output is noted for the way in which it cross-disciplines textiles, jewellery and sculpture. A graduate and postgraduate of the Edinburgh College of Art and UCD, O’Kelly lectures at both NCAD and the Edinburgh College of Art. Her mixed media neck and arm pieces are particularly inventive and through her innovative approach she has influenced other jewellery artists a generation younger than herself, e.g. Rachel McKnight. The work of Berina Kelly is rather different from O’Kelly’s, and is rooted in the fine Irish silversmith tradition. One of Kelly’s ‘Art of Gold’ necklaces was acquired by the National Museum in 2004. A graduate and postgraduate of the University of Ulster’s silversmith and jewellery courses, Berina Kelly along with O’Kelly

Crafts Council of Ireland Newsletter

News and Reviews has a strong academic record. When one is examining potential museum acquisitions it is certainly a favourable statement about the professional development of an artist for them to have undertaken postgraduate study. Indeed since 2002 the National Museum has purchased work deemed of sufficient quality from graduate/postgraduate college shows. This fact underlines the educational importance of the National Museum of Ireland in addition to its more obvious safeguarding of the country’s material record.

Ceramics illustrates the eclectic range of influences currently at play in Irish contemporary applied arts Séamus Gill

The work of Nicola Henley, although not represented in the National collection, has been included here as evidence of the current vibrant production in Irish textile art. As with O’Kelly traditional boundaries have been pushed aside in order to accommodate a combination of techniques on a large-scale format. Pieces consist of dying, painting, screen-printing cotton calico, texturing the surface with handmade Japanese paper and silk stitching. Henley has a first class honours degree in fine art textiles from Goldsmiths College, London and has been living in Ireland since 1991. Her artist’s statement concerning her interest in birds is well written, and captures succinctly what lies behind her inspiration: ‘Stranded at an ornithological centre due to stormy weather, I started drawing Peregrine falcons moving across the landscape and was captivated by that small jewel-like being with all that space around it. In my sketches I want to capture the essence of the bird and its movement, a moment in time, a memory of passing movement.’ Works by both Kevin O’Dwyer and Séamus Gill are represented in the National Museum’s collection. O’Dwyer may be said to embody mainly the American silversmith tradition having trained at the School of the Art Institute, Chicago as well as being apprentice to both Harriet Driessigger and William Frederick. In 2006 one of his architectural coffee sets was purchased under the NMI/CCoI joint purchase scheme, and recently at SOFA a similar set was favourably received by the American public. O’Dwyer’s work is internationally renowned and represented in the collections of the Victoria and Albert Museum and Japanese Imperial Family amongst others. Séamus Gill has been equally successful. In 1991 one of his tea services became the first contemporary purchase by the National Museum of Ireland in silver since the early 20th century. More recently (2004) the National Museum acquired one of his pendant necklaces. Gill studied silversmithing at both NCAD and the University of Ulster. His contemporary take on such a prized traditional Irish medium has been eloquently summarised by the great playwright Brain Friel: ‘Most elegant pieces, stylish and ethereal and gentle.’ In the medium of woodturning and furniture four artists deserve particular mention: Joseph Walsh, Laura Mays (of Yaffe Mays), Roger Bennett and Liam Flynn. Yaffe Mays bring a strong architectural influence to their creations in furniture. Combining Irish and American education in furniture production (Letterfrack and College of the Redwoods) between them,

Kevin O’Dwyer

theirs will be an important legacy in this country. Joseph Walsh is entirely self-taught, which makes his artistic output all the more staggering both aesthetically and technically. His chair entitled ‘Suaimhneas’ has been acquired by the National Museum, and at SOFA the American audience favourably received other strong pieces such as ‘Sanagi’. In much the same way Eileen Gray (also largely self-taught) dissolved the boundaries between furniture and architectural design in the 20th century, so too does Walsh in the 21st century. Considering the fact he is only in his late 20s, there is no reason not to believe that he may well attain the same degree of international notoriety as Gray in later years. Both Flynn and Bennett are master wood-turners, (the former rooted in a strong Irish tradition that has been internationally acknowledged namely in his work with oak, the other artist exhibiting a light engineering format), and noted practitioners in their field. Flynn’s ‘Inner Rimmed’ series in which significant modifications are made to the necks of the pieces and include bands of finely carved texture and more ver tical flutes, are ingenious sculptural works. Ceramics has been more consistently built upon as a collection area by the National Museum than many of the other mediums. This has had much to do with intermittent collecting during the 1980s/90s as well as a high number of Irish artists in the medium in recent years. During the course of my lecture at SOFA works by Deirdre McLoughlin, Cormac Boydell, Frances Lambe, Isobel Egan, Kathleen Moroney, Lisa Young, Neil Read, Robert Lee and Sara Flynn were shown. All of these artists have work in the collection of the National Museum, apart from Moroney, but it is planned that work by her will be acquired in 2008. Ceramics illustrates the eclectic range of influences currently at play in Irish contemporary applied arts. From the internationally renowned living at home (Cormac Boydell) and abroad (Deirdre McLoughlin), to the up and coming postgraduates (Isobel Egan - M.A. graduate, NCAD), to the educators - Neil Read and Lisa Young, and Cork vessel-based exponents - Lee and Flynn. Finally a cursory examination of the state of Irish glass art was discussed with the works of Caroline Madden, Killian Schurmann, Mary Mackey, Peadar Lamb and Peter Young being highlighted. The three-dimensional versus two-dimensional aspect of the genre in this country was stressed as rather unique in a European context - from the American influence seen in Madden’s sculptures to the traditional medium of stained glass as exemplified in the artistic oeuvre of Peadar Lamb, all are highly original creations.

Crafts Council of Ireland Newsletter

News and Reviews The overriding hallmark of what determines acquisition by the National Museum is that of exceptional artistic quality, originality of technique or innovative interpretation of traditional mediums. The primary aim of the lecture delivered at SOFA, Chicago was to emphasise the wonderful variety and fluidity of ideas as well as sophistication of work, which currently exists in Irish applied arts. Audrey Whitty

Curator - Ceramics, Glass & Asian Collections, National Museum of Ireland, Collins Barracks, Dublin Roger Bennett

Liam Flynn

Cormac Boydell

Laura Mays

Deirdre McLoughlin

Isobel Egan

Frances Lambe

Kathleen Moroney

Lisa Young

Berina Kelly

Rober t Lee

Sara Flynn

Image copyright of the National Museum

Note: The works of the following artists; Cormac Boydell, Deirdre McLoughlin, Isobel Egan, Frances Lambe, Lisa Young, Berina Kelly, Robert Lee, Liam Flynn, SĂŠamus Gill, Kevin O'Dwyer and Angela O'Kelly - all have work in the NMI collection, just not necessarily the works illustrated in this article.

Crafts Council of Ireland Newsletter

News and Reviews

SHOWC A SE 2008 CHANGES, DEVELOPMENTS AND EVOLUTIONS

This January will see the 32nd Showcase Ireland in the RDS - Ireland’s largest fashion and interiors show. The show has grown substantially since it was set up by the Crafts Council of Ireland (CCoI) all those years ago - from just 30 exhibitors to over 600, over 150 of whom are craftspeople. The show will be officially opened by Minister Micheál Martin who will present winners with their awards.

2008 sees a range of new changes and developments: • The launch of a Craftsmanship Award recognising and rewarding excellence • The Craft-Ed exhibition area in the lobby of the Enterprise Hall, where buyers, media and exhibitors can see work from craftspeople of the future

Ray Power (Castle Arch) Showcase 2008

- the winners of the Crafts Council of Ireland’s Third Level Awards

• Buyers and media trend talks on the Lifestyle Area - at intervals over the first 2 days of the show

"This will be my first year experiencing Showcase as CEO of the Crafts Council

topics such as Managing Your Order Book, Knowing the Buyers Needs,

to seeing the show in action, meeting the craft exhibitors and the buyers.’

• A range of seminar topics for exhibitors - short, sharp sessions on key

Next Steps Post-Show as well as an induction session for new craft exhibitors

• New Corporate Buyers day - Wednesday 23rd January - offering a specific service for buyers sourcing corporate gifts, awards and accessories.

• There will also be ample opportunity to meet the new CEO of the Crafts

Council of Ireland, Úna Parsons, who is keen to meet as many CCoI exhibitors at the show as possible

Other key activities at the show that are constantly being improved and developed include: • SOURCE Aisle, which hosts over 40 makers, 4 New Faces (never at Showcase before) plus 5 newcomers to the Aisle NDEX Best New Product Awards display in Main Hall - which has had a • IN

facelift for the occasion and will feature 4 category winners as well as an

overall winner • CCoI Lifestyle Area at the end of the SOURCE aisle - which features craft

displayed under the following themes: Passionate Plum,Vibrant Violet and All

That Glitters • Trend Seminars for CCoI exhibitors - at 8am on Monday 21st January 2008 in the Dodder Room 1

• Wide range of new exhibitors on the Group Stands in the Enterprise Hall • The Craft Exhibitors Party which takes place in the Library of the

RDS and will feature the presentation of the Best Group Stand and Craftsmanship Awards

of Ireland - although I have attended in the past - and I’m really looking forward

Explains Úna Parsons. ‘Showcase is one of the highlights in the craft calendar - enabling makers to meet over 6,000 buyers from home and abroad. I’d like

to think that as the consumer-focused programmes in our Strategic Plan 2007

- 2009 start to impact that we will see more and more craft exhibitors at

Showcase and more quality craft on retail shelves.’

EXHIBITORS NEWS…. “The Trend Seminar provided a great melting pot of current and emerging Trend ideas for the next 12 months.” Your CCoI Exhibitor Information Pack will hold all of the information you will

need for the duration of the show - in particular details on the new seminar programme, the trend seminar, the Craftsmanship Award, Showcase Party, the new CCoI Subsidy and all CCoI Services.

If you have any queries call to the CCoI stand at the top of the SOURCE Aisle in the Main Hall or talk to any of our staff as they tour the show.

•

Index Best New Product Awards

Index is a great way of drawing buyers to your stand - as they are always

looking for new product. Make sure that if you have new product that you submit it - contact Catherine Jordan at 087 2215287.

And if you make it into the top 50, or better again win an award, make sure you promote that during and after the show!

Crafts Council of Ireland Newsletter

News and Reviews

• SOURCE Aisle

If you are interested in applying for the SOURCE Aisle in 2009 please make sure to attend the seminar or contact Catherine Jordan at 087 2215287.

• Trend Seminars

Michelle Lamb will present one trend session exclusively for CCoI exhibitors at the show - on Monday 21st January at 8am in the Dodder Room 1 - booking is recommended so e-mail breda@ccoi.ie or call Mary Whelan at T: 056 7796131 See also the article in the last issue of Stopress 18 for more information on Michelle Lamb, available to download at www.ccoi.ie Below is a quote from one of the participating craftspeople at a recent trends seminar delivered by Michelle Lamb. The Trend Seminar provided a great melting pot of current and emerging Trend ideas for the next 12 months. Michelle presented a fascinating psychology around what makes a trend, how it emerges and how it morphs into other design ideas. The Trend Seminar given by Michelle was such good food for thought, the understanding of the lifespan of any trend especially colour is so important for makers and retailers alike and Michelle's presentation helped highlight how anyone in a competitive market can benefit from this understanding. Edmund McNulty,Textiles

• Craft Enterprise Seminars a series of workshops and seminars for

exhibitors at Showcase or intending to exhibit next year. For full details see page 14 in the Opportunities section of this issue of Stopress.

• Lifestyle Area

The themes this year are Passionate Plum, Vibrant Violet and All that Glitters - if you haven’t submitted product please consider this for coming years as the Lifestyle Area is a great way to draw Buyer attention to your product. Make sure you get a chance to look at the area - as these themes will be key for consumers for 2008 and 2009.

Tips and Suggestions for Dealing with….. Corporate Buyers at Showcase

The Corporate Gift sector can be a lucrative sales channel - and craft can provide corporate buyers with high quality, Irish handcrafted,

unique items across a wide variety of product ranges and price points. With this in mind the Crafts Council of Ireland have developed a Corporate Buyers service at Showcase on the fourth day of the show and have invited a database of over 500 buyers from a mix of companies, professional bodies, institutes and associations. This is a pilot event which, if it proves successful for craftspeople, we hope to build and develop in the future. If you are interested in selling into this market please make sure to contact: Mary Whelan at maryw@ccoi.ie Corporate Gift buyers tend to have distinct purchasing needs that are driven either by:

• Price point i.e. they will need a number of items at a given price point. For

example they may want a stock of desk items to give to valued clients at certain times of the year.

• Occasion i.e. they will have a specific event or visiting dignitary in mind. For

example they may have awards to commission or purchase or a high value once off gift to purchase

• Function i.e. awards or focal pieces for corporate spaces Corporate Buyers will have a badge identifying them as Corporate Buyers as opposed to general buyers. It is important that you:

• Establish their purchasing needs (see above) • Find out when they need the product for • Whether they need product to be personalised - they may wish to include logo’s, corporate colours etc.

• Whether they need packaging - and if this needs to be personalised They may be simply browsing at Showcase - as they may not be aware of their exact needs for the year ahead. So use this as an opportunity to open up a

relationship with them - make sure you get their contact details and keep a

record of whatever information you elicit from them regarding their needs so that you can follow up at the appropriate time of the year.

Make sure you have relevant information to hand - on your business, your product ranges (particularly those suited to corporate gifts), options for personalising gifts (if you have them) and reason’s why unique, handmade Irish craft gifts make such a positive corporate statement.

For more information contact Mary Whelan at maryw@ccoi.ie.

Crafts Council of Ireland Newsletter

News and Reviews Tips and Suggestions for Dealing with….. Journalists at Showcase

Getting press coverage is an invaluable way of marketing your business

- it is more credible than advertising as it is not paid for and more

wide reaching than direct marketing. So it is well worth the effort to maximise your potential for coverage.

Be prepared - the worst thing you can do is to have a journalist come to

your stand and not have the information they are looking for. Make sure you have a press pack (digital or paper - or preferably both) containing the following information:

• Press release highlighting what is new about your ranges/products/company • Images of your work - preferably print quality and with a licence for use agreement in place with the photographer • Your contact details - phone, fax, e-mail, mobile, address, website - anything that makes you accessible! • Product list/brochure/background information

If you have a database of journalists contact them in advance of the show and invite them to visit you at your stand - make sure to give them the stand number.

If a journalist visits your stand:

• be informative and welcoming - but not pushy • get their name and the name of their publication

• try to establish their areas of interest • talk them through your range and give them some insight into the process • • • •

of making, the inspirations for pieces, your own background, the type of consumer who buys your work - anything that will make your product stand out in their memory offer them your press pack after the show follow up with them, letting them know how the show went for you and see if there is any other information they require try to use the opportunity to develop a relationship with them - and maintain the relationship by keeping in touch when you have genuine news, new images etc. And remember - always be positive!

IMPORTANT NOTICE

Buyer Beware!

It has been brought to our attention that a number of craft-related businesses have been targeted by a publication called the Fair Guide (see www.fairguide.com) which is published by a company called Construct Data (www.cgnet.at) - and have inadvertently signed up to paid advertising which they had thought was free of charge.The small print on the booking form states that there is a substantial fee due every year for a three-year period. Please be aware - and read the small print before you sign so that you are fully informed of what you are legally agreeing to. Therefore we would urge craftspeople to read all booking forms and contracts prior to signing - and not to be pressurised into signing up to anything on the spot, and in particular at an event or fair. For further information contact maryw@ccoi.ie

GANS Conference 2007 GANS was established by the Crafts Council of Ireland (CCoI) in 2000 as the representative organisation for Craft Guilds, Associations, Networks and Societies. On 15th and 16th November 2007, representatives from these groups came together for a 2-day conference in the Parade Tower Kilkenny. Thanks to their enthusiasm, commitment and plain love of their craft, delegates ensured that the conference was an exciting forum for discussion and debate as well as a genuinely agreeable experience. It was an important opportunity for the Crafts Council of Ireland to establish connection with groups, to facilitate sharing best practice and listen to needs. It also provided opportunities to network and debate CCoI strategy for the future. Between one and three represented delegates from the following guilds, associations, networks and societies attended: Bridge Street Studios Castlecomer Estate Yard Ceramics Ireland Clare Association of Artists & Craftworkers Dunbrody Textile Academy Feltmakers Ireland Glass Society of Ireland Handweavers Guild of Cork Irish Basketmakers Association

Irish Craft Association Irish Guild of Weavers, Spinners & Dyers Irish Patchwork Society Irish Woodturners Guild Louth Craftmark Offaly Arts & Crafts Group Wexford Craftnet West Cork Craft & Design Guild

Úna Parsons (CEO of CCoI) introduced herself formally to the group and gave an insight into her background, interests and experience. Emer Ferran, Enterprise Development Manager, made a short presentation and there were also presentations from Alison Ospina, West Cork Craft & Design Guild and Tina Byrne and Grainne Watts, presented the history of Ceramics Ireland. After two days of information exchange, presentations and lively debate the conference concluded with plans already underway for 2008. The CCoI will facilitate two half-day GANS meetings on 6th March and 11th September in Kilkenny so please put this in your diary. For further information contact Emer Ferran T: 056 7761804 E: emer@ccoi.ie

Obituary:

Conor Meghen The year saw the passing of our dear colleague Conor Meghen who lost his battle for life after a long illness. Conor who over the years became a friend, confident and even counsellor to many exhibitors leaves an unfillable gap in the Showcase Team. Our deepest

sympathy is extended to his wife Jennifer, and his family and many many friends.

Crafts Council of Ireland Newsletter

News and Reviews

Donegal Design Directorate Wins National Award With competition from 55 other Accel Projects from around the country, the Donegal Design Directorate has won an Accel national award for PR and Branding at a Gala ceremony held in the Sligo Clarion Hotel.

Accel is the national skills and competitiveness initiative set up by the Department of Enterprise, Trade and Employment. It funds projects across Ireland that help businesses to compete through improved skills. The Directorate was established by Donegal County Enterprise Board in 2006 to transform the competitive strength of micro and small Donegal companies through improved design skills. Mat Kujama, Programme Advisor, Accel, Sean Grant, Grant Design, Chairperson - Donegal Design Directorate and Aisling Lynch, Design Programme Manager, Donegal Design Directorate

Selected for the 2008 Taiwan Ceramics Biennale Michael Moore, ceramicist has been selected for the 2008 Taiwan

Ceramics Biennale. Michael, a new member of the Crafts Council of Ireland’s PORTFOLIO was short-listed from over 700 entries. He hopes to travel to China in summer 2008.

Textiles Connections... Kaunas Art Biennial Textile 07

30th November 2007 - 2nd March 2008

Kaunas Art Biennial, Lithuania creates a platform for contemporary textile art, nourishes artistic creativity and promotes culture in the public sphere of Kaunas City and beyond and includes international exhibitions, satellite events, educational and research programs, and commissions. For further information contact Virginija Vitkiene, Executive Director E: virginijavitkiene@gmail.com www.bienale.lt

Reinventing Textiles A One Day Conference open for any one interested in textiles at Colaiste Stiofan Naofa,Tramore Road, Cork on Saturday

2nd February 2008 / 9.30am to 5.00pm. Lecturers from Britain and Ireland’s Leading Textile Contemporary Artists Hand Stitching & Embellishing • Print • Weaving • Felt • Lectures • Workshops For further information corktextiles.com/conference.htm

Cloth & Culture NOW

28th January - 2nd June 2008 www.clothandculturenow.com

A textile exhibition by Lesley Millar and the University College for the Creative Arts, University of East Anglia,UK.

35 artists, from the 6 countries, (Estonia, Latvia, Lithuania, Finland, Japan and the UK) have taken part in the project, contributing personal statements to the website about the role of textile within their lives.

International Textile Conference

26th January 2008

The Sainsbury Centre for Visual Arts, University of East Anglia is holding a wide ranging and exciting programme of events throughout the run of the exhibition at the Centre. For further information and booking please contact the SCVA on: scva@uea.ac.uk or T. 01603 593199

Crafts Council of Ireland Newsletter

Craft Community Forum

Through the ‘Craft Community’ section of Stopress, the Crafts Council of Ireland are happy to facilitate a FORUM AREA for constructive debate amongst craft enthusiasts. The views in this forum are therefore the views of individuals and are not necessarily the views of the Crafts Council of Ireland.

Craft & Criticism:

A New Dialogue

…”let’s get an intellectual debate going that can help all of us and move the craft scene in Ireland forward! Looking forward to hearing your opinions” Seamus Gill (Silversmith)

Craft & Criticism: A New Dialogue began in the July / August issue, 16, 2007. Silversmith, Seamus Gill introduced the forum with a lecture he heard delivered by Bruce Metcalf on ‘Critical Writing on Crafts; Who Benefits?’ at SOFA (Sculptural Objects & Functional Art), Chicago, 2006. Since then there has been a great response to this forum from Eleanor Swan

the wider craft community, including craftspeople, writers and academics. Below is the latest contribution and response to the ‘Craft & Criticism’ forum.

Side by Side Subject: Craft & Criticism Response by: Jim Dennison, Head of Design, School of Art & Design, Limerick IT A good many years ago in the 1980’s I wrote an essay for the Crafts Council of Ireland’s, Craft’s Review magazine entitled ‘Mind the Gap’. In this essay I lamented the fact that the way crafts were poorly perceived was in no small way influenced by the way they were displayed and that the lack of awareness of the conditions of presentation was a blind spot that did the crafts no favours. There seemed to be two principal display practices, ‘one off’ or nonfunctional work tended to be displayed in a gallery situation, ‘the white box syndrome’ always, by the way, in a fine art gallery, and functional work was nearly always seen on pine shelves in the ubiquitous craft shop. My view at the time was that a gap existed in the presentation of craft which, whilst having a deleterious effect on the way crafts were ‘read and understood’, failed totally to recognise the importance and value of context for an uninformed public. By and large this is still the situation today albeit that we now have a national craft gallery and a small number of contemporary craft outlets. However, we still have not addressed the issues of communication and context. The exhibition ‘Side by Side’ at the Hunt Museum in Limerick (23rd Nov.2007-13th Jan.2008) sponsored by the Crafts Council of Ireland is therefore, for me, a welcome and interesting initiative in that it attempts to contextualise contemporary craft by challenging the white box and pine shelf display conventions by presenting contemporary craft work alongside archaic artefacts within the Hunt Collection. The background to the exhibition is that contemporary craftsmen and women were invited to submit work which was then placed in an ‘appropriate’ setting side by side with work from the collection. Does it work? Well, if the object of the exercise was simply to place contemporary work next to historical objects with nothing to be read into the exercise other than to utilise gallery space it is exactly that - an exhibition of contemporary craft in a museum. However, if the question is posed, as the invitation to craftmakers seductively and tantalisingly states,’ Why not

show your work in the same case as an object made in 2000BC? or hang out near a Picasso?’ then surely this invites us, the viewer to ask a number of questions - principally - Why? It is the failure to adequately answer such questions that leads me to believe that the exhibition fails to realise a potential laden with opportunities and possibilities for a real dialogue between past and present makers. Unfortunately this failure to recognise or expose the points of contextual interest that could have given it a real frisson of excitement and edginess, leave the work simply and literally, only ‘side by side.’ One of these points and one of singular importance is the very critical context of why historical or contemporary objects were or are now made. The Hunt collection like all such collections of archaic work speaks strongly of patronage. Patronage predominantly from the Church, but also from the merchant classes of the times. It also speaks of a strong relationship to everyday llfe. As such there would have been a strong umbilical cord between patron, maker, object, audience and use, much much stronger than any contemporary body of craft work could normally aspire to. Patronage in the context of the times meant working to a very different set of demands, most of them external, and strictly controlled within a cultural and social framework. Today such constraints no longer exist. Much contemporary work is self-centred in that the primary parameters, the creative aesthetic and the raison d’etre, resides with the maker alone. The ‘reading’ of such work therefore requires a different set of connections and responses than those required to ‘read’ works from earlier periods. The absence of an exploration of these relationships, also of the parameters and changing nature of creative patronage and audience leave the viewer, not only with the question why? but questioning the whole point of the exercise. What is expected of us ? How are we expected to respond to the work on show?

Crafts Council of Ireland Newsletter

One of the inevitable consequences of placing contemporary work alongside work from earlier centuries is what I would call the ‘resonancy gap.’ If one walks around the permanent Hunt collection one cannot fail to be affected by the resonancy of the pieces. That is - they all possess a history - a social, cultural, political, aesthetic, place in time etc. and it is these resonances that heightens ones understanding, appreciation, and enjoyment of what we term ‘treasures’. The current ‘Tutankhamun’ *exhibition on show in London is a classic example of why resonance matters. Such exhibitions are not merely examples of high craftsmanship but offer us the opportunity to be enraptured, to enable us to respond to feelings and emotions that are not simply to do with the aesthetic. Paul Valery the19C. French poet and critic once asserted that the aesthetic connection is only determined by context and that ‘the Parthenon is only a small quarry of marble’ outside of the context of it’s time and function. Contemporary work on the other hand very often has no ‘past ’ in this sense. It exists in its own time and place with an aesthetic that draws not upon resonance but upon an intellectual and emotional response to its physicality. Whilst Philip Rawson in his book ‘Ceramics’ (1971) believes that over the course of our lives “We accumulate a fund of memory traces based upon our sensory experiences, and that it is in the realm of these submerged memory traces that creative art exists”, if this is the case and memory is a medium for channelling meaning, then the ‘reading’ of such work requires an additional set of intellectual or emotional insights to those required for the ‘reading of works from earlier periods.

Craft Community Forum

Because of these points, the principal criticism I have with the exhibition is manifested in the title, ‘Side by Side’. Simply placing today’s objects in the same gallery as much earlier artefacts sadly isolates them as anomalies. Even where they are notionally placed next to a point of particular reference, the contextual relationship is not explored. One had the feeling that a considerable number of the pieces had been executed prior to any Hunt Museum connection and been simply put next to or in close proximity to objects loosely similar, to try and convey some connection. Unfortunately this did not and could not happen. If a tighter brief had been given where craftsmen or women had been asked to produce a piece specifically drawing it’s references from objects within the collection, with a reference list that included such areas of exploration as patronage, use, appropriation, thematic concerns, etc. a dialogue, ambiguity and context could have been explored and cultivated which might have created not only searching questions but provoked a genuine and meaningful set of responses. *Tutankhamun is on exhibition at the Millennium Dome from: 15th November 2007 to 30th August 2008. Jim Dennison

Head of Design School of Art and Design

Limerick Institute of Technology

In the absence of this ‘reading’ capacity however, an uninformed public is left simply with a qualitative valuation of technique and process measured against their own experience. Appreciation of fine craftsmanship at this level then, becomes only a recognition of a process not of an aesthetic. The best contemporary craft work possesses a particular ambiguity that is either a conscious and deliberate consideration, or a sub-conscious and intuitive response by the maker. Such imputs imbue the piece with a set of visual clues or memory triggers that invite a questioning rather than passive response from the audience. This takes the form of an intellectual or emotional connection by drawing from one’s own submerged memory traces. Such a questioning response then becomes both the vocabulary and language by which creative work is effectively ‘read and understood’.This ambiguity may be of material, simulation, reference, process, or usage. Whatever form it takes, it then bridges the resonance gap I mentioned earlier. (In fact a number of contemporary pieces in the exhibition such as Geraldine Grubbs ‘Black Vessel’ Liam Flynn’s ‘Barrel forms’ Joe Hogan’s basket forms, do manage to rise above their contextual awkwardness here and evoke such memory traces) Other pieces on show probably convey similar responses, but in their own contextual environment outside of this particular exhibition. This ambiguity I speak of then, is a very different kind of ambiguity than the one that springs from uncertainty or confusion of the translation of a concept. One is a strength the other a weakness.

Debbie Paul

Caroline Schofield

To join the ‘Craft and Criticism’ debate/forum simply send in your thoughts and opinions to stopress@ccoi.ie and put ‘dialogue in the subject bar. If you know of any resources that may be of interest to this forum please e-mail them to the address above.

Crafts Council of Ireland Newsletter

News and Reviews

Craft @ Bloom 2008 Ireland’s largest national garden event 29th May - 2nd June 2008 CCoI expressions of interest for craft opportunities at Bloom 2008

SOFA Chicago - November 2008

Crafts Council of Ireland will host a selected craft area at Bloom 2008 offering consumers the chance to buy the best quality craft, along with craft demonstrations, showing visitors the skill, creativity and craftsmanship that makes this sector so unique.

Bloom, which was launched last year to rave reviews, is Ireland’s largest national garden event - boasting over 50,000 visitors in its first year alone. Sponsored by Bord Bia, the event takes place over the June Bank Holiday weekend in the Phoenix Park and last year it included stunning showgardens, magnificent floral displays, interactive gardens, farmer’s market, indoor and outdoor entertainment, fabulous food pavilion and family fun zone.

Expressions of interest sought for craftspeople who wish to exhibit in a selected craft area at Bloom 2008. And/or:

• Craftspeople who have large art pieces suitable for a craft trail • Or members of a guild/society that are interested in participating in craft demonstrations.

Closing date for expression of interest is Friday 15th February 2008. For further information contact: Nicola Doran, Retail Programme Manager, Crafts Council of Ireland, Castle Yard, Kilkenny T: 056 7761804 E: nicola@ccoi.ie

We are seeking a wide range of makers in all disciplines to make submissions for consideration by an expert panel in March 2008. The Crafts Council Ireland (CCoI) is expanding the call beyond CCoI’s PORTFOLIO members and offer this fantastic opportunity to all registered makers. Those interested should have exhibited work during the last three years.

The 15th Annual Exhibition of Sculptural Objects and Functional Art (SOFA) is the largest art fair in North America attracting over 100 galleries, 1,000 artists and 35,000 visitors.The National Craft Gallery has had a very successful presence at SOFA for the past two years.We aim to build on our success in November 2008. We are looking for makers who are interested in pursuing opportunities in the USA. As part of the SOFA programme CCoI offers an introductory service to American galleries.

The closing date for receipt of applications is Wednesday 19th

March 2008

For further information contact: Nuala McGrath T: 056 7761804 or visit our website www.ccoi.ie

A Future in the Making

Craft NI Conference 20th February 2008 - Island Arts Centre, Lisburn In February 2008 Craft NI will host its first conference ‘A Future in the Making’ will take place on 20th February 2008 at Island Arts Centre.The conference will focus on developing of the craft sector in Northern Ireland with champions and partners. For more information contact:

Craft NI, www.craftni.org E: info@craftni.org T: 0044 (0)28 9032 3059 Craft NI - Champion for Craft in Northern Ireland

Crafts Council of Ireland Newsletter

News and Reviews

Sculpture in the Parklands 2008 Up-coming Opportunities Sculpture in the Parklands in collaboration with the Crafts Council of Ireland would like to invite professional craftworkers to apply for the opportunity to assist world renowned environmental artist Patrick Dougherty in the creation of a site-specific sculpture from 25th May - 15th June 2008. The sculpture is inspired by the bogs and natural environment of Lough Boora in County Offaly and will be created from over 10 ton of willow. Dougherty states:

“I intend to build a walk through work which embodies momentum and the forces of nature. The sculpture will rise above the grove of Alder trees and will include hallways and swirling chambers. This will be one of my largest works to date.”

Working with Dougherty will provide a great opportunity for craftspeople who are interested in developing large scale artworks, creating a new body of work or working with a new medium. To apply: Application information is available from the Crafts Council website. www.ccoi.ie or for further information contact: Emer Ferran, CCoI Enterprise Programme Manager T: 0567761804 E: emer@ccoi.ie For information on Patrick Dougherty please visit www.stickwork.net and www.sculptureintheparklands.com

Education Programme at Sculpture in the Parklands As part of the Patrick Dougherty residency, Sculpture in the Parklands, in collaboration with the Crafts Council of Ireland (CCoI) will host “hands-on” workshops for primary schools from 2nd - 6th June. These workshops will provide an opportunity for craftspeople to work on site with children in the creation of a series of temporary installations using willow and the natural materials of the peatlands. If you are interested in participating or learning more about this opportunity contact: Amanda Walshe, T: 056 7761804 E: amanda@ccoi.ie Visit www.ccoi.ie

Crafts Council of Ireland’s

Goldsmithing & Pottery Design & Skills Course’s

Public Open Day Wednesday, 6th February 2008 The Crafts Council of Ireland is running the annual public Open Day for its Goldsmithing & Pottery Design & Skills Course’s on Wednesday, 6th February 2008 from 10am to 4pm. For further information contact Amanda T: 056 7761804

New Services for Craft Retailers Getting craft on retail shelves Crafts Council of Ireland (CCoI) are offering the following supports to retailers who wish to work in partnership with CCoI to help increase their percentage of craft sales.

• • •

Access to new makers and new product Advice/mentoring for sales teams on the unique aspects of craft and on consumer trends/needs Brand/merchandising support

We are developing an extensive database resource that can act as a source of new product and makers for the retailers we work with. So, if you are new to retail or are considering it for the first time, or you want to expand to new types of retail or are developing new product, then register your interest by sending your name, contact details, product type and list of existing retailers (if you have any) to nicola@ccoi.ie

Crafts Council of Ireland Newsletter

Opportunities Crafts Council of Ireland

Network Support

Research Missions

[closing date for applications 29th February 2008]

Financial assistance towards visiting shows

Financial support is available for organisations where the group is willing to match fund the costs of a specific project. It should be noted that the minimum number of craftspeople required to form a network or association is six.

Closing date for applications is 29th February 2008 For further information contact Mary Whelan T: 056 7761804 E: maryw@ccoi.ie

If you want to research an event/show in 2008 and want to avail of assistance with costs, apply

now

Closing date: 28th March 2008 For further information an application form go to:

NOTICE for all GANS MEMBERS Guilds, Associations, Networks and Societies The CCoI will facilitate two half-day GANS meetings on 6th March and 11th September in Kilkenny so please put this in your diary.

www.ccoi.ie or contact Helen Loughran T: 048 30833605 E: helen@ccoi.ie

Get inspired, read the reviews on www.ccoi.ie Also visit the Resource Area of the CCoI website for listings of Design Museums/Craft Fairs & Exhibitions in Europe.

For further information contact Emer Ferran T: 056 7761804 E: emer@ccoi.ie

Craft Enterprise & Trend Seminars @ 2008 Showcase 2008 Events take place from the 19th - 23rd January 2008, in the Dodder Room, RDS

New Exhibitors Briefing How to maximize your potential at Showcase. Getting your PR right - Dealing with the press Helen Carroll. Presentation by Galler y shop owner and textile/ print ar tist, Fiona Turley. The Source Oppor tunity - Catherine Jordan.

Saturday 19th Januar y 2008 5.30pm - 6.30pm

Trend Seminar Presented by Michelle Lamb

Monday 21st Januar y 2008 8.00am - 9.00am

Trend Seminar & Workshop (students outside Dublin) Presented by Michelle Lamb

Monday 21st Januar y 2008 11.00am - 2.00pm

Trend Seminar & Workshop (students Dublin Colleges) Presented by Michelle Lamb

Tuesday 22nd Januar y 2008 9am to 11.30am

Meet the Buyer What is the buyer looking for in 2008. Ciaron Conroy True potential examines what makes a buyer go to a show and what are they hoping to buy.. The Source Oppor tunity - Catherine Jordan.

Tuesday 22nd Januar y 2008 1.00pm - 2.00pm

Managing your order book Advice from Helen Conneely, Celtic Roots

Tuesday 22nd Januar y 2008 6.15pm - 7.15pm

Taking Stock What Next? Exhibitors Debrief - discussion, advice, feedback. Facilitated by Helen Conneely Celtic Roots

Wednesday 23rd Januar y 2008 8.00am - 9.00am

Crafts Council of Ireland Newsletter

Opportunities

Crafts Council of Ireland (CCoI)

Dates for your Diary *Please note: The March/April issue of Stopress will be published on 14th March 2008. Please forward all submissions by 15th February 2008.

CCoI OPPORTUNITY DIARY DATES

BY/ON/CURRENTLY/TBC*

Network Support

29th February 2008

Sofa submissions

19th March 2008

Research Missions

28th March 2008

GANS meetings

6th March 2008 & 11th September 2008

Seminar, Ecology, Mythology, Technology

May - June 2008 tbc

Farmleigh, Dublin

UP-COMING NATIONAL CRAFT GALLERY (NCG) EXHIBITIONS (including Touring) www.ccoi.ie

NCG, Castle Yard, Kilkenny.

We'll Never Walk Alone (Kilkenny & Liverpool)

8th March - 27th April 2008

Ecology, Mythology, Technology

May - June 2008 tbc

Farmley, Dublin See also page 24

INTERNATIONAL TRADE FAIR DATES 2008 Maison et Objet 25th - 29th January 2008 www.maison-objet.com Collect, London 25th - 29th January 2008 www.craftscouncil.org.uk/collect Spring Fair, Birmingham 3rd - 7th February 2008 www.springfair.com Premiere Vision, Paris 19th - 22nd February 2008 www.premierevision.fr Ceramic Art, London 29th February - 2nd March 2008 www.ceramics.org.uk The Ireland Show Secaucus, New Jersey 19th - 22nd April 2008 www.irelandshowsecaucus.com Pulse, London 1st - 3rd June 2008 www.pulse-london.com Home & Gift Harrogate 13th - 16th July 2008 www.homeandgift.co.uk Top Drawer, Autumn 14th - 16th September 2008 www.topdrawerautumn.com SOFA Chicago 7th - 9th November 2008 www.sofaexpo.com

UP-COMING SHOWS IN IRELAND 2008 The Spring House and Garden Show, RDS, Dublin

7th - 9th March 2008

Art Ireland Spring Collection, RDS, Dublin

28th - 30th March 2008

Interior Design Show, RDS, Dublin

15th - 18th May 2008

Bloom, Phoneix Park, Dublin

29th May - 2nd June 2008

For more information on the above events: T: 056 7761804 or e-mail info@ccoi.ie

Crafts Council of Ireland Newsletter

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Crafts Council of Ireland Newsletter

National Craft Gallery

“In 2007, Irish work to the value of $125,900 (€90,500) was sold”

No Irish Blues In Chicago… As a result of another successful exhibition at SOFA, the Crafts Council of Ireland (CCoI) will be showing in Chicago again in November 2008. To follow is an overview of the Irish

presence at SOFA 2007 and its importance to heightening the profile of Irish Craft and Irish Craftspeople.

The CCoI is dedicated to supporting and encouraging a vibrant collectors market. Along with US participation at SOFA there are a number of notable building blocks to help develop the Collectors area, they are:

• Álainn the CCoI membership club for collectors of fine Irish Craft • Growing partnership with the Irish Arts Review and the recent Irish Craft

‘Rocking Chaise’ by Joseph Walsh

2007 supplement with their winter edition

• CCoI’s Portfolio selection of some of Ireland's leading craftspeople

making work that is of an international standard and chosen by a panel of international experts • The development of links to bring to Ireland, US collector groups Showing at SOFA means being seen by the world's fine craft audience - all under one roof. Each gallery presents their most exciting designer makers and the work is of the highest standard of craftsmanship. Along with the artists, anybody who is anybody is there. Influencers such as the critics, the writers, the curators. The 'gatekeepers' such as the private gallery owners and public museum directors of collections. Most importantly the collecting public are there to browse, to engage with galleries and to buy the emerging talent or the missing parts of their collection. The CCoI had three jobs to do at SOFA.

‘In Aer’ installation by Joseph Walsh

• We sold the work of designer makers to collectors. • We sold the Irish craft story - excellence in workmanship, suberb touring exhibitions and beautiful publications.

• And we sold Ireland. Many attendees to the CCoI booth want to visit Ireland and see the work for themselves.

Cornelia McCarthy, Collector Market Manager, Crafts Council of Ireland

The work of seventeen artists who feature in CCoI’s Portfolio has recently returned from representing Ireland at one of the world’s most prestigious art fairs. Chicago’s Annual Exposition of Sculptural Objects & Functional Art (SOFA Chicago) is one of the key international events for contemporary craft and applied art. Over a three-day period, almost 35,000 visitors flock to Navy Pier to see work selected by leading international galleries and dealers. Brian Kennedy delivering booth talk to SOFA VIPs

Crafts Council of Ireland Newsletter

At the 2007 SOFA Irish craftsmanship was visible in many areas; primarily the main booth on the main aisle of the show and Raw Space (an exhibition space at the entrance to the VIP lounge). The group stand was gallery-style with the SOFA trademark white walls and simple plinths. Seventeen makers showed on this shared space which was sensitively designed to showcase the work. All who visited the booth were impressed by the calm sophistication and almost spiritual feel to the space. Appearance at the Raw Space area is by invitation only. SOFA invited Joseph Walsh to make a special installation in this area so impressed were they with the submission he made for SOFA. His 'In Aer' piece was very powerful - essentially it is an oak and glass table suspended from the ceiling with steel rods and cables. Weighing 500 kilograms it took eight people over 4,000 hours to make. The skeletal form of 'In Aer' combines structure and aesthetics in a minimal way. “This is a public viewing piece and is designed to be dramatic with the reaction of the viewer being part of the journey. Every component is there for a reason - nothing is hidden” says Joseph Walsh. It’s appropriate that this event is held in America as the country has the largest and most competitive market for contemporary craft. Every year, American collectors spend $2.7 billion on craft. In 2007, Irish work to the value of $125,900 (€90,500) was sold. This included glass pieces by Karl Harron, baskets by Joe Hogan, jewellery by Rachel McKnight and a stunning bespoke chair by Cork furniture designer Joseph Walsh. The biggest Irish sale of the event ($33,500) was furniture designer Joseph

Walsh’s ‘Rocking Chaise'. One of America’s most important collectors of

contemporary art and craft John H. Bryan bought this piece for Crabtree Farm. A working farm on the shores of Lake Michigan, it houses a fine collection British and American arts and crafts including a fine collection of John Makepeace furniture.

US Gallery interest

Some of America’s most important galleries also asked to represent a number of Irish craftspeople following their appearance at SOFA 2007: Glass artist Karl Herron, ceramicist Jane Jermyn, basket maker Joe Hogan, jewellers Rachel McKnight, Angela O’Kelly and Sonja Landweer and woodturners Liam Flynn and Roger Bennett are now certain to make an impact on the American collectors market. Validation, if it was needed, for the ‘collectibility' of contemporary Irish craft. Their work, and work by other leading Irish artists, is now available in galleries such as the del Mano Gallery in California, Snyderman Works in Philadelphia, William Zimmer Gallery in California, Forty Shades of Green Gallery in North Carolina, and New York’s Charon Kranson Fine Arts.

Also from Ireland

For those visitors to the event that wanted to know more about Irish craft, there were opportunities to hear about developments from a curatorial angle. A lecture was delivered by Audrey M. Whitty (Curator of Ceramics, Glass and Asian Collections, National Museum of Ireland). She outlined the substantial National Museum collection of Irish contemporary applied arts focusing on

National Craft Gallery

ceramics, glass, furniture, metalwork and jewellery and showed 72 slides in the 50 minute lecture. The main part of her talk was on contemporary craft in the collection and she also mentioned work by artists showing at SOFA. (See article pages 2 - 4). Her excellent talk and clear passion for seeing the Museum's collection grow was infectious and many from the lecture made their way immediately to the Irish booth to see the work. Another Irish headline event was the curator talk by Brain Kennedy. Brian presented to key individuals an in-depth talk on the Irish booth. The audience comprising collectors, gallery owners, writers and representatives from the Consul General's office received a wonderful talk surrounded by the work of the Irish makers. Woodturner Liam Flynn also presented at an important panel discussion. He was one of five woodturners discussing their inspiration, differences and current work in 'Five Perspectives in Wood'. Demonstrations take place throughout the event and Emmet Kane (woodturner, Board member and ar tist showing with del Mano Gallery at SOFA) demonstrated on 2 occasions. The Consul General in Chicago partnered the Crafts Council in hosting a VIP reception at SOFA. Invited guests included Chicago-based Irish business people, key SOFA organisers, galleries and collectors met by the Crafts Council in 2006 and of course the Irish makers and their friends and families who attended the event. Numerous additional networking events and meetings were attended by Crafts Council staff and board representatives. Many visitors to the Crafts Council of Ireland’s stand at SOFA expressed an interest in traveling to Ireland to visit fine craft studios. An itinerary of selected studios is currently being developed and, in partnership with Tourism Ireland, this will be available to US collector groups, founders circles and specialist cultural tour operators.

Note Up-coming Opportunites: If you wish to show at SOFA 2008 - see page 12 of Stopress Opportunites. If you wish to invite US Collector groups to your studio, please contact us in writing letting us know that you are equipped to deal with a group of up to 20 visitors. Please indicate that you have stock and staff on hand to handle enquiries. For further information contact Cormelia McCarthy (CCoI Collector Market Manager) T: 056 776804 or E: cornelia@ccoi.ie If you wish to apply for a research missions to see SOFA New York - May 29 - June 1 or SOFA Chicago Nov 7-9 (www.sofaexpo.com) see page 14 of Stopress - Opportunities.

Crafts Council of Ireland Newsletter

National Craft Gallery The National Craft Gallery’s year round exhibitions

programme showcases the confidence, skill and talent

of Irish makers.And 2007 was no different: From a graduate show highlighting a new generation of artists to a lifetime

achievement exhibition honouring a pioneer of Irish ceramics, the gallery provided a wide range of inspirational artists the opportunity to show their work.

Review

2007

There was also a strong international emphasis in 2007, with groundbreaking exhibitions from Europe, America and Korea. The year stated strongly with Tradition Transformed: Contemporary Korean Ceramics. With a ceramics tradition of over 5,000 years old, this enchanting exhibition recalled the traditional techniques used all those years ago, combined with the new influences and innovative methods used by these internationally celebrated artists. Featuring both large and small scale pieces from as far back as the early 90s, this body of work spotlighted for visitors to the gallery the nature of contemporary ceramics in Korea. The end of March saw one of the most exciting events of the year. Wild Geese: The Irish in America celebrated the Irish roots of major American artists and most of those artists travelled to Kilkenny for the opening weekend. Curated by silversmith/sculptor Kevin O’Dwyer, this spectacular exhibition brought together, for the first time, descendants of the Wild Geese as well as Irish born artists working in America. Artists included Paul Stankard, one of the god-fathers of the modern glass movement, Sean O’Meallie whose brilliantly constructed wooden sculptures owed as much to a background as a toy designer as to his Irish roots and John Boyd Smith, an artist and blacksmith, just like his great-great-great grandfather Patrick Hoy who came to South Carolina from Ireland in 1804. The opening weekend was a wonderful celebration of their Irish roots. For many, it was their first time to visit Ireland and they brought along family and friends for what turned out to be an emotional homecoming. All of the artists also took part in a highly successful seminar Making It In The USA. Held in Kilkenny Castle, the seminar lasted two days and included a series of very entertaining 'in conversation' sessions with Dr Frances Ruane.

Wild Geese Exhibition - Sean O'Meallie

Avantcraft…’this exciting initiative by the CCoI saw leading European designers and craftspeople working together to develop new and innovative products’ The international flavour continued in April and May with Avantcraft. This exciting initiative by the Crafts Council of Ireland saw leading European designers and craftspeople working together to develop new and innovative products. This fantastic fusion of craft and design involved artists from Ireland, Portugal, France and Spain. The Irish element of Avantcraft was directed by internationally renowned designer Pat McCarthy. His creative partnerships included Jerpoint Glass with Triple Dee, Noel Whelan Furniture with Lorraine Brennan and McKernan Scarves with Lucy Erridge. Avantcraft began in 2005. A year later the new Irish products were unveiled to critical acclaim in Habitat’s flagship store in Dublin followed by their commercial launch at Showcase 2007. And the two year’s hard work finally came to fruition in the gallery. Avantcraft the Exhibition also travelled to Portugal, France and Spain. June and July saw the gallery celebrating a unique artfrom - quilt art. Quilt Art 20 was a touring exhibition celebrating the 20th anniversary of a remarkable artistic collective. This group of 22 artists from Europe and America include some of the world’s most prominent practitioners. Thanks to their extraordinary skills, the quilt is now at the forefront of contemporary textile art. Each individual has a distinctive approach and visitors to the gallery explored the wonderful mix of abstract and thought-provoking ideas, realised with an ever-changing variety of surface techniques. Meanwhile in Gallery 2, Seomra featured Irish and innovative work for the interior. This exhibition, showing one-of-a-kind contemporary furniture and decorative objects, had just returned from a successful outing in Paris. The stylish and beautifully crafted pieces included bespoke furniture by Joseph Walsh and Sasha Sykes, glass work by Michael Ray and Karl Harron and ceramics by Sara Flynn and Peter Scroope.

‘The graduate exhibition is always a great opportunity for visitors to see a full range of work by the stars of tomorrow’

Seomra - Michael Ray

Next up was the annual graduate showcase. This year, it was the opportunity for graduates of the Crafts Council of Ireland’s internationally renowned jewellery course. The graduate exhibition is always a great opportunity for visitors to see a full range of work by the stars of tomorrow. It is also an opportunity for the graduates to showcase their pieces in Ireland’s foremost gallery of contemporary craft. The Goldsmithing and Jewellery Design and Skills Course is the only course of its kind in the country. For two intensive years, a select group of students are trained in the age-old skills of master craftsmen. Combining these skills with fresh, experimental designs, these young artists made some spectacular jewellery.

Crafts Council of Ireland Newsletter

National Craft Gallery

Kilkenny Arts Festival always sees some of the most important exhibitions of the year, and this year the National Craft Gallery held its first ever lifetime achievement solo exhibition. A Life in Colour traced the remarkable career of ceramicist John ffrench. Coveted by collectors the world over, ffrench’s stunning ceramic works are instantly recognisable for their distinctive bright colours and unusual shapes. It was appropriate that this exhibition took place in Kilkenny, as it was there that ffrench did his earliest Irish work. He introduced a new and exciting modernist style of pottery into Ireland in the 1950s and since then new vessels and dishes covered with brightly coloured patterns have continued to pour forth from this inspirational artist. A Life in Colour was expertly curated by Peter Lamb.

‘The Light Fantastic celebrated the traditional art form of Irish Stained Glass Art’ Across the arch in Gallery 2, The Light Fantastic celebrated the traditional art form of Irish Stained Glass Art. Focusing on the use of stained, painted and etched glass in an interior setting, visitors to the gallery were amazed at just how contemporary this art form can be.

The Light Fantastic - Peadar Lamb

Ecology, Mythology & Technology Anne Harrington Rees

The Light Fantastic was curated by Mary Boydell, President of the Glass Society of Ireland, and Audrey Whitty, Curator of Applied Arts at the National Museum of Ireland - Decorative Arts & History, Collins Barracks. This exhibition will tour to the United States and will visit the National Museum towards the end of 2008. The winter saw Ecology, Mythology, Technology take over both galleries. The Crafts Council of Ireland asked designer/makers to collaborate with leading Irish architects.Together, they examined how our lifestyles will change over the next decade and how we can continue to produce new buildings without harming the environment. The galleries were full of wonderful designs crafted from recycled materials, indigenous woods and organic materials from renewable sources. Curated by Brian Kennedy EMT featured the work of 21 designer/makers who collaborated with Solearth Architecture, architect Dominic Stevens and Burdon Craig Dunne Henry Architects. This exceptionally strong exhibitions programme in Kilkenny was complemented by an exciting touring programme. Seomra had its first outing in La Galerie Sema in Paris while St Patricks’ Day was celebrated in style as the gallery presented an exclusive selection of contemporary Irish craft to thousands of visitors in Leicester Square in London.

The Hunt Museum in Limerick once again featured on the itinerary. This time the prestigious museum played host to Side by Side, an exhibition which placed high end contemporary craft alongside one of Ireland’s greatest collections of art and antiquities.

A life In Colour - John ffrench

America is the world’s biggest market for high-end contemporary craft and, once more, they welcomed the Irish in with open arms. And the Crafts Council of Ireland travelled to Chicago for the second year running to take part in the 14th Annual International Exposition of Sculptural Objects & Functional Art (SOFA). America is the world’s biggest market for high-end contemporary craft and, once more, they welcomed the Irish in with open arms. Two prominent figures in the contemporary art scene at home were invited to speak at the event. Audrey Whitty, Curator of Applied Arts at the National Museum of Ireland, gave a key lecture on the Museum’s important collection of contemporary applied arts. And exhibitor and leading woodturner, Liam Flynn, was selected as a panelist for another key lecture organised by the Collectors of Wood Art. Irish artists also made major sales in Chicago and, most encouragingly, some of the country’s most important galleries asked to represent a number of the visiting Irish craftspeople: Glass artist Karl Harron, ceramicist Jane Jermyn, basketmaker Joe Hogan, jewellers Rachel McKnight, Angela O’Kelly and Sonja Landweer and woodturners Liam Flynn, Roger Bennet and Emmet Kane are now certain to make an impact on the American collectors market. Already plans are underway for SOFA 2008.

Contemporar y Korean Ceramics Kim Jin Kyoung

Crafts Council of Ireland Newsletter

Upcoming Exhibitions - National Craft Gallery

Highlights from the ‘National Craft Gallery’s 2008 exhibition programme include the following: SPRING

Portfolio: We’ll Never Walk Alone

An exhibition spanning two cities. Some of Ireland’s most collectible craftspeople are paired with leading artists from the Northwest of England. This cultural event celebrates the strong links between Ireland and Liverpool. This exhibition runs in parallel with a show at the Bluecoat Gallery in Liverpool.

SUMMER

European Baskets

Turning the traditional basket into a contemporary collector’s piece. This exhibition features functional and sculptural work by Europe’s most important basketmakers. Curated by Joe Hogan and Mary Butcher.

Crafts Council of Ireland Graduate Show

The National Craft Galler y, Kilkenny

Cutting edge ceramics work by graduates of the Crafts Council of Ireland’s Pottery Design and Skills Course.

AUTUMN

Image of Longing

Honouring the inspirational. Leading artists create new work for those that have inspired them. Laureates include social crusaders, cultural icons and artistic pioneers.

RDS Prizewinners

Showcasing the winners from the RDS National Crafts Competition. The best of both established and emerging Irish makers.

WINTER

Emerging Makers

To get a copy of the National Craft Gallery programme, contact the gallery (see details below).

For further information on the National Craft Gallery, Castle Yard, Kilkenny. T: 056 7761804 E: ncgpress@ccoi.ie W: www.ccoi.ie The National Craft Gallery 2007 opening times are: January - March: Monday - Saturday 10am - 6pm (Closed Sunday) April - December: Monday - Saturday 10am - 6pm, Sunday 11am - 6pm

FOR NATIONAL CRAFT GALLERY NEWS TURN TO PAGE 20 All notices and advertisements are published in Stopress for general information purposes only, at the risk of the advertiser and at the discretion of the Crafts Council of Ireland (CCoI). CCoI make no representations or warranties about any of the information contained in any notice or advertisement and accept no responsibility for the accuracy of any information contained in a notice or advertisement. Advertisements in Stopress do not indicate endorsement by CCoI. It is the responsibility of the reader to check that goods and services are described fully and accurately. CCoI expressly excludes liability for direct or indirect consequential loss or damage which may arise in respect of Stopress or purchase of the goods and services.

CCoI does not accept any responsibility for or necessarily endorse the views expressed by third party contributors to Stopress.

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Crafts Council of Ireland, Castle Yard, Kilkenny t: 353 56 7761804 f: 353 56 7763754 e: info@ccoi.ie www.ccoi.ie

The copydate for March/April 2008, Stopress is February 16th 2008. Publication date is 15th March 2008.

Adver tising in Stopress is free and is welcomed.Submissions for ar ticles from craftspeople and those interested in craft are also always welcome - please contact:

Communications Dept. Crafts Council of Ireland t. 056 7761804 e:stopress@ccoi.ie

While every care has been taken in the compilation of this Stopress, the publisher cannot take responsibility for errors or omissions.

newsletter design: dynamite

The National Craft Gallery opens its doors to a new generation of artists. Exciting young craftspeople from all disciplines showcase their work in the Crafts Council of Ireland’s flagship exhibition space.