RHA Annual Exhibition - part 2 of 2

I gave a general overview of this year's RHA Annual Exhibition in my post here, but I also wanted to post a few pix of works that stood out for me among the plethora of excellent artworks.

Although the first gallery room seemed chock-a-block with work, the hanging seemed very thoughtful as works definitely were in some sort of conversation and subtle echoes of each other. One of my friends who was viewing the exhibition on a repeat basis noted that visitors spent more time in this first room, before they really realised how huge the exhibition actually was. I tried to hurry my pace. In one corner I noted a large drawing, a self-portrait, by Imogen Stewart, a grand dame of the Irish art world. She is a notable sculptor and, indeed, the drawing was very sculptural in form. One of her sculptures is in the foreground of this picture. Also in the corner was a drawing and some sculpture by Danny Osborne. I had some familiarity with his fascinating work in lava casting because he had been on an Umha Aois project with my husband a few years ago.

My foray to the RHA was brought about by the desire to see Judy Foley's new work in the flesh. Through the delicacy and clarity of her images of body implants, she subverts traditional icon painting techniques (egg tempera and gold leaf triptych) to boldly make statements of the fragility of humanity versus godliness. I have followed Foley's work for a number of years and have previously written about it for CIRCA online magazine here.

After being introduced to Myra Jagos work at the recent "Show and Tell" at Signal Arts Centre, I was looking forward to seeing her painting in the flesh too. I wrote about the Signal event in a previous blog, here.

In one of the large rooms upstairs, there was a whole wall full of small prints. It was here that the tiny self-portrait etching of Daniel Lipstein leapt off the wall to my eyes in recognition. I had met Lipstein a number of years ago when he was giving open printmaking workshops at Trinity Arts Workshop. Not only was this pre-pandemic, but it was pre-policy change - shortly after Lipstein demystified carborundum printing for me (I had never heard of this process till I came to Ireland!), TAW decided that their workshops would no longer be open (albeit paying) to anyone who was not affiliated in some way to Trinity College. Since I am not, I could no longer attend the workshops. Boo, hiss, on Trinity Art Workshop!

 

I noticed this larger woodblock print and recognised the work of Kate MacDonagh, who gave an artist talk via Zoom last year, hosted by Graphic Studio Dublin. I had also virtually attended MacDonagh's artist talk on the mokuhanga technique (Japanese traditional woodblock printing) of which she is a virtuoso, through the Dún Laoghaire-Rathdown arts office.

Susan Early is also associated with Graphic Studio Dublin. She is the education outreach administrator there (from whom I get loads of e-information on artist talks and courses) and also a printmaker. I was unable to attend her recent Zoom artist talk (thank you GSD for holding these talks throughout the lockdowns and continuing them into the foreseeable future!) but look forward to seeing the recording when it is available. GSD has a YouTube page so previous artist talks can accessed here.

I also recognised the work of Stephen Lawlor from a GSD artist talk and likewise the work of

Ailbhe Barrett (though this print stood out anyway to me, for its ethereal atmosphere).

Speaking of ethereal atmosphere, I loved this intimate painting by Anne Magill.

I thought, when I first saw them on the wall, that this tiny work and a companion piece by the same artist, Bernadette Madden, were colourful, miniature paintings but then realised that with all the sold red dots beside them, they were in fact prints - silkscreen. Gorgeous! it is really inspiring to see so much fantastic work by fantastic artists - my blog is just touching the tip of the iceberg, and in any case a quick pic taken with a phone is nothing compared to the live experience of seeing the actual work. I have my gripes against the RHA, but I can't fault the work being shown there.

RHA Annual Exhibition - part 1 of 2

It has been many years since I attended the annual exhibition at the RHA in Dublin, so it really took me by surprise just how much work there was to see! 

I couldn't help but be impressed by the quality of the work also, it wasn't just quantity.  

The first room downstairs seemed the most orderly in the way it was hung - pieces seemed to relate to one another in a thematic, colour or movement type of way and this was a satisfying way to look at work, though I would have preferred more space around individual works.

Each work deserved way more time than I gave it -- the first couple of rooms really won out when it came to my attention, but it was somewhat overwhelming to know that there were several huge rooms waiting upstairs...

I don't even have a picture of the large hall which was chock-a-block with small works, mostly paintings, skyed almost to the ceiling. The stairwell seemed to be dedicated to the work of one ARHA member. The room full of prints asked for closer attention to individual pieces and I was only able to give this attention if something stood out and/or was familiar - in that I have taken several printmaking classes over the past few years and participated in a number of zoom artist talks during the pandemic so recognised the work of particular artists.

While I object to and don't participate in open exhibitions where the artist has to make a payment, I find the RHA Annual Exhibition somewhat distasteful in that there are three distinct tiers: ARHA (part of the club!) members are ENTITLED to exhibit several pieces of work, for whatever reason some artists are INVITED to exhibit, and the rest (about 2/3) PAY a fee to enter. Competition is high and not everyone is accepted, but it sure is a huge batch of cream! Regardless of my personal opinion, within Ireland exhibiting at the RHA Annual Exhibition is considered a privilege and an honour.

ALL of the work in the exhibition is worth taking the time to see. I will do another post on individual pieces that I paid the most attention to. The exhibition runs till July 24.