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Caoimhghin Ó Croidheáin

Biography

Caoimhghin Ó Croidheáin (pronounced Kee-veen O Cree-awn) is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin.

Caoimhghin studied at the National College of Art and Design in Dublin where he obtained a BA (Hons) degree in Fine Art. He subsequently undertook post-graduate study in the interdisciplinary field of Cultural Studies in Dublin City University obtaining an MA (Hons) degree in Communications and Cultural Studies. Caoimhghin is an Irish speaker and holds a PhD in Language and Politics (Dublin City University) which is  published under the title Language from Below: The Irish Language, Ideology and Power in 20th-Century Ireland. He completed work in Dublin City University as a Post-Doctoral researcher on the TRASNA project (a web-based database of references to translations of Irish literature globally).

He has worked as a part-time lecturer in Language and Cultural Identity, and Geopolitics at All Hallows College; in Intercultural Communication at Champlain College; and in Aesthetics and History of Irish Art for Boston University in Dublin while doing research on a database of Realist and Social Realist art from around the world. These paintings can be viewed country by country on his blog at http://gaelart.blogspot.com/.

His
interests vary widely from Irish history, history of art, Gaeilge, philosophy, world cinema, photography, Asian cuisine, travel, walking, kayaking, swimming, listening to Irish traditional, world and classical music, teaching Set and Céilí dancing and researching Ó Croidheáin family history. Caoimhghin is currently learning Spanish while concentrating his time on a new series of oil paintings examining the daily existence of people making a living in the worst working conditions in the global economy.


Beathaisnéis Chaoimhghin Uí Chroidheáin


Is ealaíontóir Éireannach é Caoimhghin Ó Croidheáin a bhfuil a chuid saothair curtha ar taispeáint go forleathan timpeall na hÉireann aige. Is le holadhathanna is mó a bhíonn Caoimhghin ag péinteáil, agus tá sé ag gabháil do shraith de chathairdhreacha a bhfuil saol sóisialta agus polaitiúil na hÉireann léirithe iontu faoi láthair. Is sa Choláiste Náisiúnta Ealaíne agus Deartha i mBaile Átha Cliath a rinne sé a chuid staidéir mar ar bhain sé céim Bhaitsiléir Ealaíon (Onóracha) sa Mhínealaín amach. Chuaigh sé i mbun staidéar iarchéime dá éis sin i réimse idirdhisciplíneach Staidéar an Chultúir in Ollscoil Chathair Bhaile Átha Cliath mar ar bhain sé céim Mháistreachta sa Chumarsáid agus i Staidéar an Chultúir mar aon le céim dochtúireachta sa Léann Teanga agus Polaitíochta amach. Is i nDomhnach Bat i gContae Bhaile Átha Cliath atá cónaí air faoi láthair.


La biografía de Caoimhghin Ó Croidheáin

Caoimhghin Ó Croidheáin (pronunciado Kee-veen O Cree-awn) es un artista irlandés que ha exhibido ampliamente en Irlanda. Su obra consiste en dibujos y pinturas, ofreciendo vistas urbanas de la ciudad de Dublín, imágenes que se basan en la historia de Irlanda. Además de ello, también exhibe imágenes relativas a temas políticos y sociales.

Caoimhghin estudió en la Escuela Nacional de Arte y Diseño de Dublín, donde obtuvo un grado en Bellas Artes. Posteriormente, realizó estudios de postgrado en el campo interdisciplinario de los Estudios Culturales en la Dublin City University para obtener un grado de master en Comunicación y Estudios Culturales. Caoimhghin es parlohablante de la lengua irlandesa y posee un doctorado en lengua y políticas, cuya tesis fue publicada bajo el título de La Lengua desde Abajo: la Lengua Irlandesa, Ideología y Poder en el siglo XX en Irlanda. Así mismo, Caoimhghin completó su trabajo en la Dublin City University como un investigador post-doctoral en el proyecto TRASNA (una base de datos en la web de referencias de las traducciones de la literatura irlandesa a nivel mundial). Actualmente trabaja como profesor a tiempo parcial de historia del arte irlandés para la Universidad de Boston en Dublín.

Sus intereses varían mucho: la historia irlandesa, la lengua gaélica, la filosofía, el cine internacional, la fotografía, la cocina asiática, viajar, caminar, la natación, la música tradicional irlandesa y la música clásica, la enseñanza de la danza irlandesa, y la investigación de la historia de la familia Ó Croidheáin. Actualmente, está aprendiendo español mientras concentra su tiempo en una nueva serie de pinturas al óleo que examinan la existencia cotidiana de las personas que se ganan la vida en las peores condiciones de trabajo en la economía mundial.



 


Lecturer
 

All Hallows College, Dublin

From Famines to Feasts: A case of history repeated?
All Hallows College, Gracepark Rd, Drumcondra, Dublin 9
2015
This module offers students an opportunity to engage in a multifaceted investigation of two pivotal events that transformed (and continues to impact on) the lives of people in Ireland: The Great Famine 1845-51, and The Celtic Tiger and its aftermath 1995-2015. Over the course of the module, students will recognise, develop, and chart thematic connections and consequences across a wide range of disciplines. ‘From Famines to Feasts’ is an interdisciplinary module examining two key and contrasting periods, separated by 150 years: The Great Famine 1845–51, and The Celtic Tiger and its aftermath 1995–2015. These events will be studied initially from a socio-historical and economic perspective, addressing connecting themes such as Dispossession; Diaspora and emigration; the effects and [ongoing] repercussions of Economic policy (both national and international); and Winners/Losers (in terms of property, labour, and economic sovereignty). This ‘discussion’ will be complemented by an exploration of how these pivotal events have been remembered and recorded in literature, music, and public art.

Cultural Diversity in Contemporary Ireland: Values, Identity and Intercultural Learning
All Hallows College, Gracepark Rd, Drumcondra, Dublin 9

2015
The aim of the course is to develop awareness of the role of cultural values in shaping identity, and of the need to take differing cultural values into account, especially in a multi-cultural learning environment.
We will study the most important theorists of Intercultural Studies and Intercultural Learning, and as far as possible, we will explore the current intercultural situation in Irish society and education. Course includes foundations and theories of intercultural communication, cultural and ethnic identities, migrant/host relationships, globalisation and cosmopolitanism, nonverbal codes, intercultural relationships, communication and conflict.

Language and Cultural Identity
All Hallows College, Gracepark Rd, Drumcondra, Dublin 9

2014
This course is structured as follows:  History and Nationalism [Ireland and Europe], Ideology and Politics [Statism and Ethnicity], Globalisation and Utilitarianism [Instrumentalism and Culture], and the Future of Culture [Economy and People]. The fraught relationship between the Irish language and cultural identity is examined and the relationship between the Irish language and politics is investigated through a survey of individuals and movements associated with the language. Since the Great Famine the position of the Irish language in Ireland has been in decline. A critical analysis of the theories of Ideology, Nationalism and Ethnicity lays the basis for discussion about the changing relationship between the Irish language and politics since the formation of Conradh na Gaeilge in 1893. While some commentators perceive the situation as hopeless, others look to the growth of Irish in the urban centres of Ireland for inspiration and as a positive sign for the future for the language. Examining the position of other minority languages around the world will be a key part in outlining the importance of cultural identity in society today.

Geopolitics

All Hallows College, Gracepark Rd, Drumcondra, Dublin 9
2013
This course is divided into four areas: Geopolitics and Globalisation, Topics and Strategies, Geopolitical Theories, and History of Geopolitics. The course covers world politics from the early twentieth century to today looking at cultural and political tensions that underlie international relations. By taking a broadly historical, geographical and cultural look at the changes and developments of the main blocs competing in the world today, the course seeks to encourage students to critically examine and contextualise current events according to the needs, desires and sometimes hidden agendas of individual countries or power blocs. The ultimate aim of the course is to develop conceptual and theoretical tools that will help the student explain and understand the global issues being played out on the news each day.
 

Champlain College, Dublin

Intercultural Communication

Champlain College, Leeson Street, Dublin
2011 – Present
Course includes foundations and theories of intercultural communication, cultural and ethnic identities, migrant/host relationships, globalisation and cosmopolitanism, nonverbal codes, intercultural relationships, communication and conflict, and includes guest speakers, films with intercultural themes and world music.


Boston University, Dublin

Aesthetics and History of Irish Art

Boston University, DCU, Dublin
2009 – Present
Teaching Visual Arts Strand for Boston University, Dublin. Course includes History of Irish Art, Representations of the Irish People, Aesthetics and Irish Art, and field trips, to business and communications students.

 


Articles by artist

Misrepresenting the People
Dissident Voice, November 27, 2016
http://dissidentvoice.org/2016/11/misrepresenting-the-people/

The Artistic Representation of War and Peace, Politics and the Global Crisis - Old Forms, New Content: Art Dealing with Crises
Global Research, July 28, 2016
http://www.globalresearch.ca/old-forms-new-content-art-dealing-with-crises/5538278

Free Trade Agreements, Tariffs and Tax Reductions: “Squeezing the Lemon Dry” on Behalf of Giant Corporations
Global Research, April 12, 2016
http://www.globalresearch.ca/free-trade-agreements-tariffs-and-tax-reductions-squeezing-the-lemon-dry-on-behalf-of-giant-corporations/5519903

Remembering the Irish Easter Uprising of 1916 against the British Empire? The Art of Obfuscation
Global Research, March 30, 2016
http://www.globalresearch.ca/remembering-the-irish-easter-uprising-of-1916-against-the-british-empire-the-art-of-obfuscation/5517361

Stormy Times: Climate Change and Instability as Predicted
Global Research, January 11, 2016
http://www.globalresearch.ca/stormy-times-climate-change-and-instability-as-predicted/5500530

Sacred Trees, Christmas Trees and New Year Trees: a Vision for the Future
Counterpunch, January 6, 2016
http://www.counterpunch.org/2016/01/06/sacred-trees-christmas-trees-and-new-year-trees-a-vision-for-the-future/

Ireland: Obesity, the “Western Diet” and the Global Food Challenge
Global Research, August 23, 2015
http://www.globalresearch.ca/ireland-obesity-the-western-diet-and-the-global-food-challenge/5471016

Lost in Limbo: Ireland’s Asylum Seekers Afraid to Speak Out
Global Research, August 18, 2015
http://www.globalresearch.ca/blue-skies-blue-seas-blue-gloves-mediterranean-migrants/5469820

Ireland and the Privatization of Water: Anti-Water Charge Campaigners’ Victory
Global Research, August 05, 2015
http://www.globalresearch.ca/ireland-and-the-privatization-of-water-anti-water-charge-campaigners-victory/5467257

International Art and Social Consciousness: Rejecting ‘Endless Lines and Squares’
Global Research, June 27, 2015
http://www.globalresearch.ca/international-art-and-social-consciousness-rejecting-endless-lines-and-squares/5458697

Painting the World Crisis: Challenging Academic Ideas. Artist as Activist: Representing Global Issues
Global Research, May 07, 2014
http://www.globalresearch.ca/artist-as-activist-representing-global-issues/5381082

Ireland’s Bailout Exit: Jumping from the Economic Frying Pan into the Fire
Global Research, December 17, 2013
http://www.globalresearch.ca/irelands-bailout-exit-jumping-from-the-economic-frying-pan-into-the-fire/5361825

In Solidarity: Irish Workers and Apartheid in South Africa
Global Research, December 10, 2013
http://www.globalresearch.ca/in-solidarity-irish-workers-and-apartheid-in-south-africa/5361044

A Perfect Storm Brewing for Ireland’s Economy
Global Research, November 16, 2013
http://www.globalresearch.ca/a-perfect-storm-brewing-for-irelands-economy/5358329

Ireland: Financial Playground for the Global Elites
Global Research, June 25, 2013
http://www.globalresearch.ca/ireland-financial-playground-for-the-global-elites/5340375

The Robot Revolution
Global Research, April 23, 2013
http://www.globalresearch.ca/the-robot-revolution/5332550

“Enviro-mental”: Climate Chaos and Pollution: Air, Water, Fire and Earth
Global Research, March 28, 2013
http://www.globalresearch.ca/enviro-mental-climate-chaos-and-pollution-air-water-fire-and-earth/5328942

Ireland’s Home Mortgage Crisis: No Debt Relief. The Destruction of Savings and Pensions
Global Research, March 15, 2013
http://www.globalresearch.ca/irelands-home-mortgage-crisis-no-debt-relief-the-destruction-of-savings-and-pensions/5326871

Democracy, Disillusion and The Political Process
Global Research, March 07, 2013
http://www.globalresearch.ca/democracy-disillusion-and-the-political-process/5325580

Austerity is a Scam: Crisis Legislation and Dodgy Debt Repayment Schemes
Global Research, February 08, 2013
http://www.globalresearch.ca/austerity-is-a-scam-crisis-legislation-and-dodgy-debt-repayment-schemes/5322437

Coastal Erosion: Protecting Ireland’s Beaches and Dunes
Global Research, December 30, 2012
http://www.globalresearch.ca/coastal-erosion-protecting-irelands-beaches-and-dunes/5317409

Ireland: The Devastating Social Impact of Economic Austerity Measures
Global Research, December 08, 2012
http://www.globalresearch.ca/ireland-the-devastating-social-impact-of-economic-austerity-measures/5314745

Ireland’s Economic Chickens Come Home to Roost
Dissident Voice, December 2, 2012
http://dissidentvoice.org/2012/12/irelands-economic-chickens-come-home-to-roost/

Living and Dying in the Global Economy: Oil paintings examining the daily existence of people in the worst working, living (and dying) conditions in the global economy.
Global Research, November 11, 2012
http://www.globalresearch.ca/oil-paintings-living-and-dying-in-the-global-economy/5311268

Ireland’s Booming Economy in the Midst of Austerity and Cutbacks
Global Research, November 10, 2012
http://www.globalresearch.ca/irelands-booming-economy-in-the-midst-of-austerity-and-cutbacks/5311211

‘The Army of Crime’: Immigration and Identity
Global Research, January 21, 2011
http://www.globalresearch.ca/index.php?context=va&aid=22882

Violence in Cinema - "Torture Porn": World Cinema at its Lowest Ebb
Global Research, December 17, 2010
http://globalresearch.ca/index.php?context=va&aid=22439


Depicting the Worldwide Crisis: The Role of the Artist in Social, Economic and Political Change
Global Research, December 05, 2010
http://globalresearch.ca/index.php?context=va&aid=22264


The Global Crisis, The Role and Meaning of Art in Society

Global Research, October 17, 2010
http://globalresearch.ca/index.php?context=va&aid=21483

Political Art
Global Research, July 10, 2010
http://globalresearch.ca/index.php?context=va&aid=20092


Art and the World’s Peoples
Global Research, June 19, 2010
http://globalresearch.ca/index.php?context=va&aid=19808


The Work of Art in the Age of Globalisation
Global Research, March 16, 2010
http://www.globalresearch.ca/index.php?context=va&aid=18146

Desperate Lives in the Global Economy
Global Research, January 11, 2010
http://globalresearch.ca/index.php?context=va&aid=16903


Irish Roots Magazine

The Cryan Game
Database No. 16
Irish Roots, Issue No.25, First Quarter, p.14, 1998

1916 Rebels
Database No. 35
Irish Roots, Issue No.46, Second Quarter, p.20, 2003

Local Newspapers: The Hidden Archive
Irish Roots, Issue No.46, Second Quarter, p.22/3, 2003

Merchant Seamen Identity Cards
Database No. 39
Irish Roots, Issue No.53, First Quarter, p.22, 2005

Frongoch Internment Camp
Database No. 41
Irish Roots, Issue No.55, Third Quarter, p.21, 2005

Letters: A New Irish Flag
Irish Roots, Issue No.57, First Quarter, p.30, 2006

Detective Work on a Detective
Irish Roots, Issue No.58, Second Quarter, p.22/3, 2006


 



Posters





 



Book, Journal, Report and Magazine Covers



Language from Below: The Irish Language, Ideology and Power in 20th Century Ireland

Caoimhghin Ó Croidheáin
Peter Lang academic publishers
'Máirtín Ó Cadhain (1906 - 1970)' cover painting by Caoimhghin Ó Croidheáin




Cultural Politics in the Age of Austerity
Edited by David Berry (2017)
https://www.routledge.com/Cultural-Politics-in-the-Age-of-Austerity/Berry/p/book/9781472434883

'City Demonstrations: Athens' cover painting by Caoimhghin Ó Croidheáin




Post Celtic Tiger Ireland: Exploring New Cultural Spaces
Edited by Estelle Epinoux and Frank Healy (2016)
http://www.cambridgescholars.com/post-celtic-tiger-ireland
'Aston Quay Jungle'
cover painting by Caoimhghin Ó Croidheáin

See also inside:

Chapter Eleven ........................................................................................ 196
Post Celtic Tiger Dublin Landscapes in Caoimhghin Ó Croidheáin’s
Paintings

Marie Mianowski

Chapter Twelve ....................................................................................... 208
Post Celtic Tiger Expressionism: Caoimhghin Ó Croidheáin’s Great
Famine Memorial, Custom House Quay, Dublin (2007)

Amélie Dochy




Being a Migrant in Turkey: Migrant Workers Survey
T
uba Dündar and Elif Özer (2015)
'Garment Factory, India'
cover painting by Caoimhghin Ó Croidheáin




An Archaeology of the Troubles: The dark heritage of Long Kesh/Maze prison

Laura McAtackney (2014)
http://ukcatalogue.oup.com/product/9780199673919.do
'Nissan Huts'
cover painting by Caoimhghin Ó Croidheáin




Revolt Against Authority

Laura Westra (2014)
http://www.brill.com/products/book/revolt-against-authority
'Massacre'
cover painting by Caoimhghin Ó Croidheáin




Revisiting the Frankfurt School: Essays on Culture, Media and Theory

Ed. David Berry (2012)
https://www.routledge.com/Revisiting-the-Frankfurt-School-Essays-on-Culture-Media-and-Theory/Berry/p/book/9781409411802
'Phone Recycling, Mumbai, India'  cover painting by Caoimhghin Ó Croidheáin


The Irish Review
(Summer 2011)
Eds. Michael Cronin, Colin Graham and Clare O Halloran
http://www.corkuniversitypress.com/product-p/9781859184523.htm
'Phone Recycling, Mumbai, India' 
cover painting by Caoimhghin Ó Croidheáin




Comhar
Magazine (Mheán Fómhair 2011)
http://www.iriscomhar.com/
'Roger Casement'
cover painting by Caoimhghin Ó Croidheáin

 





'Geopolitics and Art'

Kilmainham Arts Club
,
The Patriot's Inn, Kilmainham, Dublin 7 October 2013


 





John Mitchel: Irish Nationalist, Southern Secessionist
Bryan P. McGovern (2009)
http://utpress.org/title/john-mitchel/

'John Mitchel' cover painting by Caoimhghin Ó Croidheáin




Transforming Ireland Challenges, Critiques, Resources
Eds. Debbie Ging, Michael Cronin, Peadar Kirby (2009)
Manchester University Press
'Parnell's Providence'
cover painting by Caoimhghin Ó Croidheáin




The Táin magazine (Jun - Aug 2006)
'Michael Davitt'
cover painting by Caoimhghin Ó Croidheáin

 





La Rochelle, France

WORKSHOP- IRELAND AND THE ARTS IN A TIME OF CRISIS: A TRANSITION TO POST-CONFLICT POLITICS AND IDENTITY?

Thursday 6 June 2013 / University of La Rochelle, France
 


Illustrations

History Ireland (March/April 2017) with Thomas Davis painting by Caoimhghin Ó Croidheáin illustrating article 'Thomas Davis's ideas on educating leaders' by John Conneally.
http://www.historyireland.com/



History Ireland (November/December 2014)
with Ceannt, Pearse and Plunkett paintings by
Caoimhghin Ó Croidheáin.
http://www.historyireland.com/





History Ireland (March/April 2006)
with James Connolly painting by Caoimhghin Ó Croidheáin.
http://www.historyireland.com/



 


Making Cents: Life Below the Bottom Rung
Solo exhibition by
Caoimhghin Ó Croidheáin
This exhibition was opened by journalist and broadcaster
Vincent Browne
Thursday 7th October 2010



Ionad an Phiarsaigh––THE PEARSE CENTRE
The Ireland Institute, 27 Pearse St , Dublin 2

‘Making Cents’ is a new series of oil paintings examining the daily existence of people making a living in the worst working conditions in the global economy.
 



Articles about artist
(Click on images to enlarge)

Dungarvan Observer 23 November 2011
http://www.joanclancygallery.com/





Liberty September 2011
http://www.siptu.ie/media/libertynewspaper/




Artists & Illustrators December 2010
'UK's best-selling magazine for artists and art lovers, providing advice and inspiration every month'.
http://www.artistsandillustrators.co.uk/




Gaelscéal 29 October 2010
http://www.gaelsceal.ie/





Michael D Higgins (launching Windscapes exhibition in Anton's Cafe, Galway) with Gráinne O'Malley (owner) and Caoimhghin Ó Croidheáin (2010)




Foinse 23 July 2006
http://www.foinse.ie/



 





Pandora's Box
'A Brief Introduction to Geopolitics' by Caoimhghin Ó Croidheáin
29 October 2013
Odessa, 14 Dame Court, Dublin 2, Dublin
(Photo: Jeff Burns)

 





Village Magazine Feb-Mar 2006
http://www.villagemagazine.ie/





Daily Ireland 28 March 2006
http://en.wikipedia.org/wiki/Daily_Ireland


g


Saol
Nollaig 2004
Interview





On-line articles

Fast Capitalism
Journal devoted to analyzing the impact of information and communication technologies on self, society and culture in the 21st century. bridges the social sciences and the humanities. welcomes disciplinary and interdisciplinary work.
http://www.uta.edu/huma/agger/fastcapitalism/7_1/croidheain7_1.html


Fifth Estate Online
International Journal of Radical Mass Media Criticism
http://www.fifth-estate-online.co.uk/?cat=5


Visual Arts Cork

On-line review of Dublin cityscape series:
http://www.visual-arts-cork.com/contemporary-artists/caoimhghin-ocroidheain.htm



 






Kilmainham Arts Club,
The Patriot's Inn, Kilmainham, Dublin July 2012
(Photo:Peter Mirolo)


 


Interviews


Radio

RTE Radio Cuisle na nEalaíon (2012)
10.30am Saturday 25th February 2012
Agallamh le Cathal Póirtéir ar Cuisle na nEalaíon
RTÉ ARTS: This week on Cuisle na nEalaíon we will hear an interview with Dublin artist Caoimhghin Ó Croidheáin.
http://www.rte.ie/presspack/2012/02/25/cuisle-na-nealaion-7/
 

RTÉ - Podchraoladh Dearc  (2008)
Clár ealaíon le Cearbhall Ó Síocháin a dhíríonn ar na dearcealaíona go háirithe, idir pheintéireacht chlasaiceach, nuaealaín ilmheáin, dhealbhadóireacht agus ealaín sráide, chomh maith le hamharclannaíocht agus scannánaíocht. Beidh Cearbhall i mbun agallaimh le healaíontóirí éagsúla maidir lena gceird agus lena saothair, ag trácht ar thaispeántais reatha agus ar fhéilte cuí.
Dearc: 06 Meán Fómhair (2008)
08 September 2008 00:00
Caoimhghín Ó Croidheáin, Ealaíontóir ag cur síos ar a shaothar; Tom Creed, Stiúrthóir agus ball bhord Fringe, (Féile Imeall Bhlaile Átha Cliath); Niall Ó Síoradáin le léirmheas ar ‘Standard Operating Procedure’, scannán faisnéise ag Errol Morris.
http://www.rte.ie/radio1/podcast/podcast_dearc.xml




Television


RTE TG4 Imeall  (2016)

'Imeall, our flagship bilingual arts series returns for its 8th season with presenter Tristan Rosenstock and his team chronicling cultural life in Ireland, getting up close and personal with our leading artists in all corners of the country. Produced by Red Shoe Productions.'





Nationwide Focus on Irish art and artists' (2007)
(Tom Hogarty, newirishart.com)





RTE TG4 Ardán  (2006)
15 April
Ceol, ealaíon agus siamsaíocht ó gach cearn den tír le feiceáil air. Déantar ceiliúradh ar chultúr agus ar thallan phobail áitiúla na hÉireann. Hosted by Páidí Ó Lionáird. Caoimhghin Ó Croidheáin discusses 7 portraits (oil on canvas) of the signatories of the Proclamation of 1916, displayed on easels in the studio.





NvTv video interview by Northern Visions (2006)

Northern Visions is a free-to-air, terrestrial community television service for the Belfast area. ‘Assembly in the Market Place’, Culturlann McAdam O Fiaich, 216 Falls Rd, Belfast, Co Antrim. Interview with Caoimhghin Ó Croidheáin. (Solo Exhibition: 4 Oct 2006 – 9 Nov 2006).



[See also: Assembly In The Marketplace from Northern Visions NvTv on Vimeo.

Art exhibition held in the Cultúrlann showcasing the work of Caoimhghin Ó Croidheáin, a Dublin Artist whose subjects include international issues, everyday scenes and the political history of Ireland, stretching back over 400 years. Irish with English subtitles. Funded by the Irish Language Broadcast Fund/NIFTC. Craolfar gearrscannán dar teideal ‘Assembly in the Marketplace’ ar Northern Visions, ar seirbhís áitiúil teilifíse do cheantar Bhéal Feirste é, dé Chéadaoin seo chugainn, an 15ú Samhain agus athchraolfar é ag an deireadh seachtaine. Tabharfaidh an scannán seo léargas ar shaothar Chaoimhghín Uí Chroidhdeáin, ealaíontóir a bhfuil taispeántas ar siúl aige faoi láthair i gCultúrlann Mac Adam O Fiach.

Léiríodh an clár seo mar chuid de scéim oiliúna a reáchtálann NvTv i gcomhar leis an gCiste Craoltóireachta Gaeilge (CCG) ar bhonn bliantúil. Faigheann NvTv maoiniú ón CCG le oiliúint a chur ar fáil do bheirt a bhfuil Gaeilge líofa acu. Le linn dóibh a bheith ar socrúcháin oiliúna le NvTv, tugann an bheirt faoi chlár cuimsitheach oiliúna ina bhfoghlaimíonn siad scileanna taighde, fuaime, ceamara agus iarléiriú. Beidh ‘Assembly in the Marketplace’ ar an gcéad gearrscannán a léirigh an bheirt atá ag gabháil don scéim i rith na bliana seo. “Bhain muid an-chuid sochair agus taitnimh as déantús an chláir seo”, a deir Ray Lawlor, duine den bheirt atá i mbun na scéime i mbliana. “Idir an bheirt againn, rinne muid an clár ina iomláine a chur le chéile”. “Measaim gur clár thar a bheith suimiúil é”, a deir Chrissie Ní Loinsigh, páirtnéir Ray ar an scéim. “Ealaíontóir polaitiúil é Caoimhghín agus cuireann sé lón machnaimh os ár gcomhair ina chuid saothair. Ach míníonn Caoimhghín sa chlár gur fadhb í seo do ealaíontóirí sa lá atá inniu ann; go mbíonn siad idir dhá thine Bhealtaine. Déantar gearán fúthu má úsáideann siad íomhánna conspóideacha agus cúrsaí reatha mar spreagadh dá saothair ealaíne agus cáintear iad fosta mura n-úsáideann siad cúrsaí comhaimseartha ina gcuid saothair”.]


Miscellaneous

The 3rd International Art Festival of Resistance, Tehran, Iran
5 paintings selected and shown in the 3rd International Art Festival of Resistance, Tehran, Iran during November 2013
http://resistart.ir/english/invitation/

Luas Art Competition
29 November 2007
Entry painting used as image for one month in RPA (Rail Procurement Agency) 2008 Calendar

 




Conversations on Culture 1st Feb 2012
http://www.dublintellectual.ie

"Making Cents: Art in a Globalised Economy"
http://www.dublintellectual.ie/#/01st-feb-conversations-o/4559621429

 




Calendar

2009 wall calendar Feilire Ealaine produced by http://iorarua.com/
Email caoimhghin@yahoo.com for copies
Click here to see paintings featured in Feilire
Ealaine 2009


St Mary’s Hospital, Dublin



Seven Dublin cityscape paintings acquired by St Mary’s Hospital, Dublin for new community nursing unit reception area.


 






Ship Dismantling, Alang Shipyard, India

 


Articles / Statements


Art facilitates the creation of solidarity and awareness between peoples in struggle against common forces of oppression. At the same time, the process of making art is about developing forms of visual expression that raise social issues to higher levels of cultural significance.

Following Sartre's dictum that 'to reveal is to change', I have endeavoured to learn about the many dire situations people have found themselves in around the world and to make paintings that would in a sense 'reveal' these problems to those like myself who had never come across them before.

The globalisation of the economy and the media has not led to more democracy but the concentration of power and wealth in fewer and fewer hands. It is in the gift of the culture producers (artists, writers, composers) to re-present and symbolically strengthen those on the ground fighting for social justice in many different and difficult situations.

 

'Making Cents: Life Below the Bottom Rung' (2009)
A new series of oil paintings examining the daily existence of people making a living in the worst working conditions in the global economy.

Nations are not communities and never have been. The history of any country, presented as the history of a family, conceals fierce conflicts of interest (sometimes exploding, most often repressed) between conquerors and conquered, masters and slaves, capitalists and workers, dominators and dominated in race and sex. And in such a world of conflict, a world of victims and executioners, it is the job of thinking people, as Albert Camus suggested, not to be on the side of the executioners.
Howard Zinn  A People's History of the United States

While reading the International Herald Tribune I came across an article entitled 'Deal near for global pact on ship recycling' (15 May 2009). The article notes that '[t]he dismantling of ships, so that their steel and other materials can be sold as scrap, is often done on or near beaches in poor countries, notably India and Bangladesh. Both nations have pledged to improve working conditions and environmental practices. But labor advocates contend that the process still kills and maims many workers each year and results in the contamination of shorelines with asbestos, oily waste, toxic paint and other dangerous materials.' It struck me that it is rare to see images of people in such working conditions depicted in paintings.

Following Sartre's dictum that 'to reveal is to change' I decided to make a painting that would in a sense 'reveal' this type of work to those like myself who had never come across it before. Like many bad situations they continue without change for a long time because of a lack of awareness of their existence by many who often benefit directly or indirectly from them. I looked at other situations where people worked in very bad and sometimes even horrific working conditions (such as recycling in dumps where children have been buried in the process). I talked about this to friends who told me of other situations (such as sulphur workers in Indonesia who carry 70 - 100Kg's on their backs for 2-3hrs to make $1 causing at the same time burnt skin and lungs).

The globalisation of the world economy has allowed for extremes of exploitation of workers in poor countries. This exploitation is 'hidden' behind advertising and aesthetically designed products. Looking at the people behind the products reminds us that our lifestyle has its negative side too.

Two excellent books on this subject are Planet of Slums by Mike Davis published by Verso (2006) and The Globalization of Poverty and the New World Order by Michel Chossudovsky published by Global Research (2003).
 





Kilmainham Arts Club,
The Patriot's Inn, Kilmainham, Dublin August 2011
(Photo:Peter Mirolo)
 



‘Dublin: A City of Contrasts’
(2007)

Series of Oil Paintings 

A city – a free city – was where a man could be most fully a man. The Romans took this for granted. To have civitas – citizenship - was to be civilised, an assumption still embedded in English to this day. Life was worthless without those frameworks that only an independent city could provide. A citizen defined himself by the fellowship of others, in shared joys and sorrows, ambitions and fears, festivals, elections, and disciplines of war. Like a shrine alive with the presence of a god, the fabric of a city was rendered sacred by the communal life that it sheltered. A cityscape, to its citizens, was therefore a hallowed thing. It bore witness to the heritage that had made its people what they were. It enabled the spirit of a state to be known.
Tom Holland  Rubicon: The Triumph and Tragedy of the Roman Republic

The Dublin of today is a far cry from the Dublin of the 1980s when it was said to resemble London directly after the Second World War, so numerous were its run-down buildings and empty sites. In the last 10-15 years much of the city has been renovated or rebuilt. The success of the ‘Celtic Tiger’ has given the Irish people historically unprecedented wealth and attracted many immigrants from all over the world. This can all be seen in a brief walk around the city centre. The new (and expensive) cars glide past African and Polish shops while people from many different ethnic and cultural backgrounds mingle around the Spire and the GPO on O’Connell St.  

The Dublin we see today is a snapshot in time, hiding its past while only leaking hints of where its future will lie. For example, the new O’Connell St with its squared-off designer trees and generous paving hides the felling only the year before of a row of 100-year-old trees that witnessed the 1916 Easter Rising. Looking to the future it seems likely that Liberty Hall, Dublin’s only modernist ‘skyscraper’ and prominent if unloved symbol of Dublin, will be demolished soon in favour of a more modern or even postmodern replacement.

The Dublin of today has many contrasts, symbolic of shambolic planning yet with many hopeful idealists struggling against the odds. Witness the Liffey Boardwalk in contrast with the traffic-jammed quays; the huge reduction of plastic signs (the scourge of the 1970s and 1980s) in contrast with the monotony of quick-rise apartment block and shopping centre developments.  

Yet older areas of the city like Moore St and Parnell St, which were going into decline as the more affluent Irish moved to greener pastures, are seeing extraordinary multicultural changes as immigrants set up shops and restaurants with a never-before-seen range of food, goods and menus. Indeed the culinary tastes of the new visitors and inhabitants have created a demand for exotic vegetables, fruit and seafood never even contemplated by their Irish neighbours.

The relatively recent wealth of Dublin and many of its citizens (symbolized by the number of Brinks vans leaving the cosmopolitan Grafton St as shoppers enter it) may also be a snapshot in time as the uncertain economic future of rising interest rates, peak oil, and global warming threatens to bring the whole economic façade tumbling down like the crumbling slum dwellings of the 1960s.

The statues of historical figures such as Jim Larkin, Daniel O’Connell, Charles Stewart Parnell, and James Connolly look down on a new city that sits uncomfortably with their varieties of nationalism and socialism.

These symbols of the past, standing in silent judgment of the follies of the present, act as control rods in the current economic fission reminding its old and new, wealthy and poor citizens alike of past struggles and hardships. 

The aim of this series is threefold:

1 To depict Dublin as it is in this moment in time, recording current states, trends and aspects that we take for granted but can change tomorrow.

2 To examine particular contrasts that have emerged due to current levels of wealth and immigration. 

3 To represent aspects that symbolize positive developments for the future of Dublin and all of its inhabitants.


Art and Identity
(2007)
Talk given at Dublin City University's Centre for Consumption Studies Workshops  on October 17 (See here ...)

War Triptych (2006)
The First World War was to a large extent the war of the First World re-carving global markets with the intention of obtaining a greater share for themselves. (read on ...)

Artist’s Statement
(2005)
The word ephemeral derives from the Greek ephémeros and means ‘lasting a day’. It is a word particularly suited to newspaper images (read on ...)


Some Notes on Political Art
(2005)
What is political art? What makes art political? It is very difficult to define political art. Views on what makes art political can range from (read on ...)

Pearse, Connolly, Larkin Triptych
(2005)
If Magritte made it clear that all art consisted of symbols of people and objects and not the real world itself then (read on ...)

 


 



At work on Strolling Player, Liffey Street, Dublin

 



Art Quotes


Quotes on Creativity


A sincere artist is not one who makes a faithful attempt to put on to canvas what is in front of him, but one who tries to create something which is, in itself, a living thing.
William Dobell

My best work was always done and still is I think when I'm experimenting. If I stop experimenting I feel it just becomes a drudgery. That's why I take so long and my sitters get tired waiting for commissioned portraits. If they commission me they have to wait years sometimes because I discard so many.
William Dobell

I've never been able to go out and paint. I've never liked drawing or painting in public. I can't bring myself to that.
William Dobell

Face is everything, in faces there is the history we are living, the anguish of the times. We bear it engraved more than the events affecting us directly or taking place far away; we are the true film of reality; and I paint it.
Renato Guttuso, 1971.

One must always always work, and a self-respecting artist must not fold his hands on the pretext that he isn’t in the mood … I have learned to master myself and am glad I’ve not followed in the footsteps of those Russian colleagues who have no self-confidence and no patience, and throw in the sponge at the slightest difficulty.
Pyotr Ilyich Tchaikovsky

The image, it is clear, must be set between the mind or senses of the artist himself and the mind or senses of others. If you bear this in memory you will see that art necessarily divides itself into three forms progressing from one to the next. These forms are: the lyrical form, the form wherein the artist presents his image in immediate relation to himself; the epical form, the form wherein he presents his image in mediate relation to himself and to others; the dramatic form, the form wherein he presents his image in immediate relation to others.
James Joyce
A Portrait of the Artist as a Young Man

The artist spends the first part of his life with the dead, the second with the living, the the third with himself.
Pablo Picasso

The highest condition of art is artlessness.
Henry David Thoreau

Without emotion, art is lifeless; without intellect art is shapeless.
Charles Johnson

The difference between art and science is that science is what we understand well enough to explain to a computer. Art is everything else.
Donald Knuth

The true work of art continues to unfold and create within the personality of the spectator. It is a continuous coming into being.
Mervyn Levy

That which is static and repetitive is boring. That which is dynamic and random is confusing. In between lies art.
John Locke

Art must not stop at the level of pleasing eyes.
Li Shan

True art is not an expression of the self. Art is about the feelings that belong to all living people.
Aleksander Titovets

Painting is an intermediate somewhat between a thought and a thing.
Sydney Smith

The piano is the centre of my musical discoveries. Each note that I write is tried on it, and every relationship of notes is taken apart and heard on it again and again.
Igor Stravinsky

Jackson Pollock found it difficult to get the public at large to accept his art but he knew that if you threw enough mud at the wall some of it was bound to stick.
C Ó Croidheáin

A word of advice: don't paint too much direct from nature. Art is an abstraction, derive this abstraction from nature while dreaming before it, and think more of the creation that will result.
Paul Gauguin

[A]nyone who prefers to have his peasants looking namby-pamby had best suit himself. Personally I am convinced that in the long run one gets better results from painting them in all their coarseness than from introducing a conventional sweetness.
Vincent Van Gogh

Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.
Scott Adams

Action is the foundational key to all success.
Pablo Picasso

What a funny thing painting is. The abstract painters always insist on their connection with the visible reality, while the so called figurative artists insist that what they
really care about, is the abstract qualities of life.

Marlene Dumas

I think the twentieth century is just that.. the process of artists rushing through the world and finding some part of the non-art world and bringing it into the art world, minus
its context.

Tony Cragg

Let it be no more said that the Empires encourage arts; for it is the arts that encourage Empires.
William Blake

Usually I am on a work for a long stretch, until a moment arrives when the air of the arbitrary vanishes, and the paint falls into positions that feel destined.
Philip Guston


Seeing is so important that the [visual] system will not quit even when the quantity of the data is meagre and the quality of data is abysmal.

Roy Sorenson

Painting and art have never had the same agenda. Art is a much newer argument than painting. Painting has been around for 25,000 years. Painting is commemorative. Art, on the other hand, is a kind of discourse that in a funny way seeks to do away with itself.
Stephen Westfall

Modernist abstraction resumed the trend begun by Aestheticism, in that it expressed the conviction that only by a drastic restriction of its field of vision could art survive. With the least strain of embellishment possible in a formal language, art became increasingly self-referential, in its search for a "purity" that was hostile to narrative. Guaranteed not to represent anything, modern painting is consciously nothing more than a flat surface with paint on it.
John Zerzan

Painting will have to deal more fully and less obliquely with life and nature's phenomena before it can again be great.
Edward Hopper

We are what we repeatedly do. Excellence, then, is not an act, but a habit.
Aristotle

We can all agree that the peculiarity of an activity consists in using the means specific to it. But a means is specific to an activity in as much as it is apt to achieve the purpose that is specific to the activity. The particular purpose of a mason’s labour is not defined by the material he works on and the tools he uses. What, then, is the specific purpose that is realized by putting coloured pigments on a flat surface? The response to this question is in fact an intensification of the tautology: the specific purpose of painting is solely to put coloured pigments on a flat surface, rather than to people it with representative figures, referred to external entities situated in a three-dimensional space.
Jacques Rancière
 


Quotes on Art and the City

The life of our city is rich in poetic and marvellous subjects. We are enveloped and steeped as though in an atmosphere of the marvellous; but we do not notice it.

Charles Baudelaire

It is much easier to decide outright that everything about the garb of an age is absolutely ugly than to devote oneself to the ask of distilling from it the mysterious element of beauty that it may contain, however slight or minimal that element my be. By 'modernity' I mean the ephemeral, the fugitive, the contingent, the half of art whose other half is the eternal and the immutable.
Charles Baudelaire

One of the greatest difficulties besetting me has always been the choice of subject. My inclination being strongly the illustration of modern life, I had read the works of Dickens in the hope of finding material for the exercise of any talent I might possess; but at that time the ugliness of modern dress frightened me, and it was not till the publication of Barnaby Rudge, and the delightful Dolly Varden was presented to us, that I felt my opportunity had come, with the cherry-coloured mantle and the hat and pink ribbons.
William Powell Frith

I don't think that the station at Paddington can be called picturesque, nor can the clothes of the ordinary traveller be said to offer much attraction to the painter - in short, the difficulties of the subject were great and many were the warnings of my friends that I should only be courting failure if I persevered in trying to paint what was in no sense pictorial.
William Powell Frith

Our lives take place in rooms and streets that have their own special laws of light and visual language.
Edmond Duranty

The new city embodied the social and economic instabilities of the Capitalist age. Moreover anonymous people of all social classes rubbed shoulders in its public places on a scale hitherto unknown.
Christine Lindey


 






Exhibition opening at the 101 Talbot

 

 


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