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Irish Examiner
27-07-2025
- Entertainment
- Irish Examiner
Sam Gilliam: IMMA exhibition underlines impact of Irish visits on output of US artist
Sam Gilliam was an American abstract artist who revolutionised the display of work in gallery spaces. Draping unstretched canvases from the ceilings, and arranging industrial fabric on the floor, he blurred the line between painting and sculpture, and helped shape the development of installation art in the 1960s and '70s. Gilliam broke ground also by becoming the first African American artist to represent the United States at the Venice Biennale in 1972. By the time of his passing, aged 88, in June 2022, he had enjoyed any number of public commissions and major museum shows across the US. Although Gilliam is not as well-known on this side of the Atlantic, he visited Ireland in the early 1990s, and was greatly moved by the experience. His stay is commemorated in Sewing Fields, the new exhibition of his work curated by Mary Cremin and Seán Kissane at the Irish Museum of Modern Art in Kilmainham, Dublin. 'When we first started talking about this exhibition,' says Cremin, 'I met Gilliam's widow, Annie Gawlak. She came to IMMA and told us about how Gilliam had completed a three-week artist's residency at the Ballinglen Art Foundation in County Mayo in 1993. 'Gilliam normally worked on large canvases with petroleum paints, but he wasn't allowed to bring those paints on the plane, so he dyed and painted fabric and sent it on ahead to Ballinaglen. And when he got there, he worked with a local seamstress to collage pieces of the fabric together, so they're kind of stacked on top of each other. You'll see one of those pieces in the exhibition, it's part of a series of four called Cottages. I think the experience was quite transformative for him.' Gilliam was one of the many international artists who have spent time in Ballinaglen with the support of the arts foundation established in the early 1990s by Margo Dolan and the late Peter Maxwell, who owned a prestigious art gallery in Philadelphia. The foundation runs workshops, residencies and fellowships, along with education and outreach programmes and a museum of art. 'It's this amazing place in the middle of the village,' says Cork-born curator Cremin. 'People like Howardena Pindell, who we've shown at IMMA, and Jo Baer, who was very influenced by the archaeology in the area, have all done residencies there. It's very interesting that Ireland has had a real impact on these artists, and a real resonance with them in terms of art making.' Down Patricks-head, by Sam Gilliam. When Cremin began work on the Sewing Fields exhibition, she discovered that Gilliam had once shown in Dublin. 'In the early 1970s, he had a solo exhibition with a gallerist named Oliver Dowling, who passed away just last year. Dowling was a maverick, and quite an influential person within the arts in Ireland. He helped set up the ROSC exhibitions. But it was news both to Annie and to us that Gilliam had ever exhibited in Ireland. We don't think he came over for the opening, but everyone involved is dead now, so it's not possible to say for sure.' Gilliam was born in Tupelo, Mississippi in 1933. 'Growing up where he did,' says Cremin, 'where there's a massive cotton industry, he was probably seeing a lot of quilting and that type of making. We have an exhibition of quilts from Gee's Bend in Mississippi on at IMMA at the moment, and we know that Gilliam had several Gee's Bend quilts in his own art collection. There's a correlation between this idea of stitching and layering, telling narratives through the fabrics, that I think is referenced in his work as well.' In Gilliam's youth, his family migrated north. He studied art at the University of Louisville in Kentucky and then settled in Washington DC. 'He was part of the colour field movement, with people like Kenneth Noland. They made minimal abstract paintings. But later on, he made works that were much more three-dimensional, or sculptural, and he started really playing around with the paint, scraping, stitching and layering. There was really a lot of improvisation. 'He was very interested in jazz as well. Improvisation is very important in jazz, of course, but it's also very important to the kind of way he worked. There were no limitations in terms of how he worked with paint or with the canvas. He was very liberated.' Gilliam came of age during the Civil Rights Movement in America. 'That was, very obviously, hugely important to everyone,' says Cremin. 'And for Gilliam, being a black artist coming up at that time was a big deal, because it was predominantly white males in the art world. He wasn't making work that was overtly political, he was making art for art's sake. But that said, he was very involved in the establishment of the Studio Museum in Harlem, and he was part of a very important exhibition called X in America. 'And also, I guess he does engage politically, in that a lot of his paintings are called after significant black figures, like Martin Luther King. There's one piece in the exhibition here called Count On Us, which is this beautiful three-coloured canvas that's referencing when Obama was voted in as president. It was a very aspirational and very exciting time. So, he referenced politics in a different way.' Mary Cremin, curator. Sewing Fields was organised in collaboration with the Sam Gilliam Foundation, which is run by the late artist's family. 'Gilliam was very supportive of young black artists, and his foundation has continued that work,' says Cremin. 'They also collaborate on exhibitions such as this, ensuring that Gilliam's work is shown as he would have liked. Some of the work in Sewing Fields has never been shown before, and some of the technicians who'd been with Gilliam since the 1980s came over to help with the installation. 'It's only two years since Gilliam passed, but I guess it's important for his work to continue to grow, and for people to have an increased awareness around him. In terms of contemporary Ireland, this is not just the first time he's been shown here since the 1970s, it's his first museum show here as well. Many of these works have never been exhibited before, and many people are travelling over from America to see the show. It's really exciting for us.' Gilliam's time in Mayo may have been brief, but the landscape had a big influence on his work, says Cremin. 'Even towards the end of his life, he was making these really large paintings, with thick impasto, he called Downpatrick Head and Irish, County Mayo. As Annie says, he always referenced back to his time in Ireland.' Sam Gilliam, Sewing Fields runs at the Irish Museum of Modern Art until January 25, 2026. Further information:
Irish Independent
22-05-2025
- Sport
- Irish Independent
Cork pupils win Ireland's Fittest School contest and an entire week free of homework!
Ballyhass NS principal said pupils had the 'drive to win' Fyffes' Fittest School in Athlone as they narrowly missed out on the title last year Corkman Ballyhass National School was crowned the Fyffes Fittest School in Ireland, a year after finishing second in the nationwide competition. The grand final took place at the Athlone International Arena and was hosted by Irish Olympian David Gillick. The four schools representing their province contested for a prize package which included €8,000 worth of sports equipment. Ballyhass was crowned the fittest school in Munster back in April, which booked their place in the national competition and Prinicpal Tracey Cremin said the team had the 'drive to win' after losing out last year. 'They had to do different activities against other schools, and we came second last year so we had more of a drive to win it this time around,' 'They were used to the hype of the arena and the buzz in Athlone. 'It wasn't their first time so that at least helped them, and they really wanted to win,' she said. 320 schools from across the island took part in the 10-week long competition, which consisted of school-wide exercise while promoting a healthy lifestyle. Each team consists of 16 children, two from each class group, all the way from Junior Infants to Sixth Class. Ms Cremin said it was 'difficult' to choose 16 children out of 231 students but 'all the kids knew that they were still part of getting to Athlone.' 'Parents have said that the kids actually enjoy coming into school early in the mornings because they knew there would be a good buzz, music and it would be great way to be set up for the day. 'We don't have a hall, so we had to do it out on the yard, even if it was cold outside,' she said. The children were greeted with a 'huge turnout' of supporters when they returned from Athlone. After their win, Ms Cremin informed the children that they would be homework free for the week. 'I was asked to speak by the host David Gillick and I just blurted out that there would be no homework for the week, and they were delighted with that,' she laughed. Related topics Martin Mongan
The Journal
08-05-2025
- Politics
- The Journal
Teachers protest at Dublin's Synge Street school over plans to switch to Gaelcholáiste
TEACHERS IN DUBLIN who were unexpectedly told that their secondary school would be transitioned into a Gaelcholáiste have expressed anger over the lack of consultation over the decision. Proposals to turn Synge Street CBS in Dublin 8 into a gaelscoil were first announced in September last year . The plan was later overturned in February but greenlit again in March . Today, President of the teaching union ASTI Donal Cremin and General Secretary Kieran Christie and members of the association staged a lunch-time protest outside the building over the lack of communication with staff over the proposal. Staff and members of the ASTI outside the school in Dublin 8 during the protest today. The Journal The Journal The ASTI said the decision will affect the staff's working lives 'in a fundamental way' and that there is an urgent need to discuss upskilling, transition and timeline plans with the teachers. Many teachers spoke of feeling caught off guard by the announcement. The Journal previously reported that the school was only told of the plan the day before then-education minister Norma Foley publicly announced it. Speaking at the event, Cremin told The Journal that staff, the department, the union and the Edmund Rice Schools Trust – which oversees the school and owns the property – need to 'get around the table to discuss' the plan. Communication between the union and the department has continued, Cremin said, but he claimed that there is a split between the school's management over the decision. He said that the issue needs to be addressed to staff properly for the transition to be a success. The ASTI believes the issue needs to be discussed with staff properly for the transition to be a success. The Journal The Journal First-year students entering Synge Street C.B.S. in September 2026 will be the only class that is taught completely as Gaeilge. All other students who enrolled before will continue their education through English. By September 2032 the school will be lán-Gaeilge. It follows a long-running campaign from residents and parents in the Dublin 2, 4, 6 and 8 areas who want a dedicated Gaelcholáiste option for when their children leave local Irish-speaking primary schools. Advertisement Students from Bunscoil Synge, Gaelscoil Eoin, Gaelscoil Inse Chór, Gaelscoil Lios na nÓg and Scoil Bhríde located in the Dublin 2, 4, 6, and 8 have frequently taken part in the protest to demand that a Irish-speaking secondary school be created locally. The Department of Education has previously said that it remains committed to the establishment of a Gaelcholáiste in the Dublin South City area. ASTI, however, has said that 91% of staff at Synge Street CBS are not in favour of the transition to a Gaelcholáiste. Despite the school's concerns, the Edmund Rice Schools Trust – which oversees the school and owns the property – told staff in March that the plans to enroll and teach students through Irish in September 2026 will proceed. Labour councillor Fiona Connelly, Labour party leader and local TD Ivana Bacik and Fine Gael councillor Danny Byrne attended the protest alongside the teachers and the ASTI leadership this afternoon. Bacik told The Journal that she has long-supported plans to introduce a gaelscoil in the area but urged that there needed to be better communication, cooperation and consultation with the staff at the school for it to be done properly. Signs made by school staff read: 'RTÉ knew before we knew', 'No Consent, No Consultation' and 'Respect our Community'. Signs made by school staff read: "RTÉ knew before we knew". The Journal The Journal An assistant principal, who speaks Irish, will be appointed at the school and the Department and the Trust will provide upskilling resources to the staff. Teachers today said they are concerned over the efficiency of the upskilling programmes. One teacher said he would not have the level of proficiency required to teach through Irish within two years' time. The ASTI standing committee has highlighted how a number of gaelscoileanna around Dublin have constant staff shortages and are sometimes required to temporarily hire English-speaking teachers to teach Irish-speaking classes. Other teachers have recognised the need for a Gaelcholáiste in the Dublin 8 area, but that the speed of change is too fast, the lack of communication has increased concern for the future of their employment and the risk it poses to the school's community and diversity seen in its population. While most staff have recognised the need for a Gaelcholáiste in the Dublin 8 area, the speed of change and the lack of communication, they say, puts the future of their school and employment there at risk. Readers like you are keeping these stories free for everyone... A mix of advertising and supporting contributions helps keep paywalls away from valuable information like this article. Over 5,000 readers like you have already stepped up and support us with a monthly payment or a once-off donation. Learn More Support The Journal
Irish Examiner
05-05-2025
- Entertainment
- Irish Examiner
'There's so much creativity': Cork has a cut off its first Fringe Festival
Does Cork need a fringe festival? With the inaugural Cork Fringe Festival taking place a month before the Cork Midsummer Festival (CMF), its directors, Daniel Cremin and Ineke Lavers believe there is a gap in the festival market for emerging developmental work that may not be ready for something like the CMF. 'It's an opportunity for artists to workshop new projects in a low risk environment and potentially, to maybe bring it to the CMF,' says Cremin. He describes himself as a magician, a performer and producer, having started playing with magic at the age of four. He now does 'psychological magic' in theatre-based shows. Lavers is an arts producer working from Cork and Abu Dhabi. Locally, she has worked with the likes of CMF, the Cork Opera House and the Cork Theatre Collective. The two directors met while they were doing a masters in arts management and creative producing at UCC, in collaboration with Cork Opera House. 'There is so much creativity in Cork; so many groups of artists but they're all quite isolated from each other. The theatre people stay with each other, the music people stay with musicians. We feel there is huge potential for cross collaboration within the arts,' says Lavers. Cremin adds that some Cork artists bring their performances to the Dublin Fringe Festival. 'They should be able to perform in Cork.' When the call went out for acts to apply to the Cork Fringe Festival, Cremin and Lavers received 120 applications when they were only expecting about 40 expressions of interest. They have whittled down the applicants and over the three days of the festival, there will be 20 events across ten venues. Fourteen of the events are produced by Cremin and Lavers. The other six events are produced by people that already stage events in the city and wish to do something specifically for the festival. The Cork Fringe Festival is funded through ticket sales, private donations and sponsors. 'The Everyman [one of the venues for the festival] is a partner, helping us in terms of putting together budgets and making sure we have all our contracts in place. Also, last August we went to the World Fringe Congress in Stockholm. There are over 300 fringe festivals around the world and every two years, people from them meet up in a different city for a week. We got to make really good connections and learned a lot about how to put together a fringe festival. We have a really good relationship with the Reykjavik Fringe Festival.' Cremin admits that developing a fringe festival can be overwhelming when it hasn't been done before. 'The main challenge is that there are only two of us. I guess the biggest challenge we faced at the beginning was having to say 'no' to artists,' he says. The artists will be paid from ticket sales with a 70/30 split. 'The 30% goes on organising the tech and marketing for the shows. Ineke and myself are working voluntarily this year. The hope is that next year through our Arts Council application, there will be a producers' fee included in that budget. We're operating on a minimal budget. This year, it's really about getting the festival on its feet and having a proof of concept. The festival has a capability for about 1,700 people but we don't need to reach that audience figure to be able to sustain it.' The festival is using both traditional spaces such as the Everyman, the Granary Theatre and the TDC (Theatre Development Centre) at the Triskel. Unconventional spaces include the Marina Market as well as art galleries, the Laneway and the Lavit, which will be the site of unusual events. At the Laneway Gallery on Shandon Street, there will be an interactive game of 'trace the dot'. When a canvas is initially installed, it will be blank. As visitors trace a dot, an underlying image will slowly reveal itself. There will be a double bill at the Everyman, as well as another show in the Everyman bar. At the Granary Theatre, a story about identity and road kill takes place, in a show entitled A Xerox of a Deer. There's traditional fare at Forde's Bar near South Gate Bridge in an event called The 3 B's. Beamish, bodice and ballads will be on offer. 'By the end of the night, you'll feel like a true Corkonian,' they promise. The Cork Fringe Festival takes place from May 9-11. See
