[Is kindly supported by Wexford County Council]
An exhibition of painting told through the lens of film.
Gorey School of Art | 28 JULY — 5 AUGUST 2017
Robert Armstrong — Susan Connolly — Diana Copperwhite — Colin Crotty — Brian O’Doherty — Damien Flood – Paul Hallahan — Mark Joyce — Mark O’Kelly — Ciarán Murphy — Sheila Rennick — Emma Roche — Mark Swords — Kathy Tynan
PERIPHERIES 2017 will bring together 14 Irish painters on the ground floor of Gorey School of Art (GSA). In the buildup and over the course of the nine consecutive days of the exhibition GSA will be activated by film screenings, artist talks, live broadcasts, online texts and one rotation of paintings midway through the exhibition.
Titled ‘Soul-Beating’, the curator of the exhibition James Merrigan retraces an exhibition he co-curated with Robert Armstrong at Dublin’s Temple Bar Gallery & Studios in 2012 titled ‘Making Familiar. Likewise ‘Soul-Beating’ offers a chance to experience peer painting practices side-by-side and revelations on the processes and ‘lived’ stories that define their working methods.” However the title ‘Soul-Beating’ draws from a deeper psychological and critical well.
‘Soul-Beating’ is a phrase taken from the biographically intimate essay of the same name by the American painter David Reed, who had the strange aspiration to be a “bedroom painter”. Reed heard the phrase from his art college mentor Milton Resnick, whom he studied under at the New York Studio School in the 1960s: “It was a phrase that Resnick used to describe the method and difficulties of an artist changing his or her work”.
To confront such ‘Soul-Beating’ questions a series of public conversations with painters and filmmakers will take place in a custom-made seating area decked out with televisions and reading material in the exhibition setting. The seating area will also play its part in the display of a series of filmed conversations with Irish painters and to invite visitors to the exhibition to stay a while and think and feel with the paintings.
Drawing once again from Reed’s ‘Soul-Beating’ essay where he describes escaping art school to a New York theatre to see Sergio Leone’s For a Few Dollars More (1965) with the iconic American painter Philip Guston, the spaghetti western For a Few Dollars... and the slice-of-life drama The Last Picture Show (1971) will be screened on the main street of Gorey town; while more contemporary films dealing with painters and painting will be screened on the first floor of Gorey School of Art.
Artists are always becoming; their art is always becoming. In an attempt to surprise or stop repeating themselves artists often feel the need to change, even destroy what they and their work have become in their mind’s eye and the eyes of the public. This three-part series of talks with paired painters and filmmakers confronts this notion of soul-beating, and the difficulty, necessity and sometimes danger in changing tactic and starting all over again.
**Irish Filmmakers Saskia Vermeulen and Gareth Nolan will also give a presentation on their work-in-progress film All or Nothing, a visual essay that traverses the nature and nurture of painting.** Dates and times of these events to be confirmed.
Jean-Michel Basquiat: The Radiant Child, 2010. Director: Tamara Davis. Writers: Eric Martin, Lois Vossen. 93 minutes.
Star Trek: The Next Generation, 'The Offspring', season 3/ episode 16, 1990. Director: Jonathan Frakes. Writer: René Echevarria. 45 minutes.
Gerhard Richter: Painting, 2011. Director: Corinna Belz. Writer: Corinna Belz. 97 minutes.
Ex Machina, 2014. Director: Alex Garland. Writer: Alex Garland. 108 minutes.
For a Few Dollars More, 1965. Director: Sergio Leone. Writers: Luciano Vincenzoni, Sergio Leone. 132 minutes.
The Last Picture Show, 1971. Director: Peter Bogdanovich. Script: Larry McMurtry, Peter Bogdanovich. 118 minutes.
**Selected by Saskia Vermeulen and Gareth Nolan**
A Story of Children and Film, 2013. Director: Mark Cousins. Writer: Mark Cousins. 106 minutes.
Troublemakers: The Story of Land Art, 2015. Director, James Crump. Writer, James Crump. 72 minutes.