Bøger af Michael Dempsey

Am I a good man, or am I a bad man? A saint or a Satan? A Jekyll or a Hyde? An age-old question finds a surprising new answer.

In the mid-1950s, during her last year of high school, an 18-year-old Catholic girl experiences a series of devastating crises -- religious, personal, social, and political -- that can destroy her or launch her into a new world.

Two women and two men are drawn together during a single day by a murder plot that goes wrong.

Using the space of a public gallery as a field for reflection and debate, this volume extends the process of six artists that make up the Sleepwalkers project. The six artists - Clodagh Emoe, Sean Lynch, Gavin Murphy, Linda Quinlan, Jim Ricks, and Lee Welch - have used Dublin City Gallery The Hugh Lane as a place for research through developing a solo exhibition at the gallery during 2012-14. With each exhibition, the artists investigate the changing role of the museum and curator, as well as the collection and history of the gallery. Pages created by the participating artists are accompanied by essays by Simon Critchley, Chantal Mouffe and other leading curators and cultural theorists. These explore such vital questions as 'what is an exhibition?' and 'how does the form of an exhibition come into being?

Eva Rothschild's large-scale sculptural compositions explore relationships between surface and structure whilst testing the boundaries between the abstract and figurative. Accompanying a solo exhibition at Dublin City Gallery The Hugh Lane, Dublin (23 May-21 September 2014), this volume features a number of recent sculptures by the Irish-born artist alongside a series of photographic portraits of gallery visitors holding snakes. Using diverse materials, such as wood, steel and fibreglass, Rothschild investigates sculptural form by testing the limits of those materials. With references to Minimalism and Constructivism, Rothschild's work aims to invert Modernism's forms and question its utopian ideas. Alongside full-colour illustrations, this volume includes texts by Brian Dillon and Michael Dempsey which closely examine Rothschild's installation at the gallery and her ties to broader art history.