#kilnaboy

[oldcurrencyexchange]

Col. Thomas Blood & the Theft of the Crown Jewels (9th May 1671)

Introduction

You may wonder what this article has to do with coins, or Ireland. The story begins during the War of the Three Kingdoms – otherwise known as the Bishops’ War in Scotland, the Great Rebellion in Ireland, and the English Civil War.

After the execution of Charles I in 1649 many of his Crown Jewels were sold or destroyed by Oliver Cromwell. England, Scotland and Ireland were ruled as…

[lady-adventurer]

One more of the sheela na gig in Kilnaboy Church. There are something like 130 of them in Ireland, with more being found even now, often in old barns and such. The surviving sheelas are made of stone, but archaeologists know there were wooden ones because of old church orders for wooden sheela na gigs to be burned. This is so beautiful to me, the heart of the divine feminine as we know it today: the very thing that was meant to destroy it is the reason that it survives. #sheelanagig

[wildeyedsoutherncelt]

Leamaneh Castle, County Clare Built around 1480 on the edge of The Burren in #CountyClare, Leamaneh ( also spelled Leamanagh) Castle was originally a five-story tower house. These fortified homes, with castellated features, were popular with Norman gentry in the western regions of Ireland during the middle ages. The castle stands on the corner of a busy three-way intersection on the southern end of the Burren, where limestone is plentiful. The tower has a spiral staircase, small chambers, and narrow windows that are little more than slits. In 1902, the gates were removed from #Leamaneh and taken to Dromoland Castle, as the manor home had fallen into disrepair. Today only the four outer walls remain. Unmaintained and walled off, there is no access to the castle -- it stands on private property -- but it can be easily viewed from the road. There is no designated parking, however, so be careful where you put your vehicle and watch for traffic! The tower house was built by Turlogh O'Brien, King of Thomond, one of the last of the High Kings of Ireland, and a direct descendant of #BrianBoru. The name Leamaneh is derived from the Irish leim an eich (pronounced "laym an uch"), which means "horse's leap". In 1543, Murrough, son of O'Brien, surrendered the castle and his #Irish royalty to Henry VIII. For this he was made a First Earl of Thomond and Baron Inchiquin. He dutifully adopted English custom and converted to the Anglican Church. In 1648, Conor O'Brien and his wife Mary McMahon (also known as Maire Rua, meaning "Red Mary") extended the tower by adding a four-story, high-gabled mansion house. The manor house was quite modern for the time and was paid for by #MaireRua through the wealth her first husband bequeathed her. Conor was killed in 1651 at the Pass of Inchicronan while leading his men against the Cromwellians. There are varied reports of Maire Rua's reaction to Conor's death. One report is that he was taken home in a very weak condition by his followers and that Maire Rua nursed him until he died at nightfall. She would have realised that the punishment for Conor's rebellion was forfeiture of his property. It is reported that immediately after Conor's death she went, richly dressed, to Limerick. In a bid to retain her lands and estates she offered to marry immediately any Cromwellian officer who was willing. This is refuted in other versions of the story which state that Maire Rua didn't marry until 1653, two years after Conor's death. In either case her third husband was Cornet John Cooper, a Cromwellian soldier. They had a son, Harry (or Henry), and possibly a daughter also. Through this marriage of expediency Maire Rua succeeded in keeping her estates intact for her children. John Cooper left the army and became wealthy through land and property speculation, though he later ran into financial difficulty resulting in the mortgaging of Leamaneh. In fact and in fable, Maire Rua was a formidable woman. Legends have grown up around her, many of them exaggerated with the passage of time and many of them simply untrue. In 1664 she was granted a royal pardon on murder charges brought against her two years previously. These charges related to her supposed involvement with Conor O'Brien's raiding parties in the 1640's. Without doubt, she was a tough, forceful and determined woman but there is no evidence to support the story of her throwing her third husband out of the window of Leamaneh, or of her forcing him to ride his horse over the Cliffs of Moher. In fact, it seems that financially and legally the marriage of convenience lasted for many years although they perhaps lived separate lives later on. Legend says she married 25 men after her third husband's death, but there is no written evidence of those unions. With her power and wealth, Marie Russia had no need to tie herself to so many husbands. Personally, I think she did what any #Celtic woman would do in the same situation: have 25 LOVERS, not 25 husbands. With so many ongoing feuds, it’s no wonder that Red Mary reputedly came to a very bad end. After the death of her last husband( presumably one of the alleged 25 ) locals say she was captured by a group of her enemies and taken to a hollow tree. Here she was fastened up and left to die of starvation. It is not clear exactly where she was buried, but her red-haired ghost is said to appear in two different places. One of these is a Druid’s Altar near Clare Castle, whilst others say she walks the halls of #LeamanehCastle, giving it the reputation as being one of the most haunted Irish castles. It is claimed by some that Maire Rua is buried at Coad church in #Kilnaboy parish. Her two daughters are buried there(I've seen their graves) and it is thought that Maire had constructed the church there following a dispute with the rector. If you decide to check out whether Red Mary still haunts Leamaneh, keep in mind that the castle is located on a working farm, with residents living on the premises. Your ghost hunt just might lead you to a living--and highly annoyed-- member of our mortal realm, not the Otherworld.

[thurmanshealy-blog]

ClareResults Of The Kilnaboy 10 Mile Roadway Race.

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[claredotcom]

This is Kilnaboy. The building is known locally as the Cabhail Mhor. It is a 16th cen fortified building and was the home of the Blood family. It is believed to be the birthplace of Thomas Blood who stole the Crown jewels! Hiding in the snow #snowday #archeology #ireland #burren #nofilter #iphoneography #igers (at Kilnaboy, Clare, Ireland)

[irishmuseumofmodernart]

View of Rosc ’67 showing paintings by Lichtenstein and Picasso, Anne Crookshank.

Rosc, which means ‘poetry of vision,’ was a series of exhibitions of international art that took place approximately every four years between 1967 and 1988.

In collaboration with the National Irish Visual Arts Library (NIVAL), IMMA is marking the 50th anniversary of the first Rosc exhibition, in 1967, through a programme of events which will unfold over the course of 2017. This programme includes new research undertaken by Dr. Brenda Moore McCann which informs a display of archival material from NIVAL and films and news clippings from the RTE Archives (in IMMA’s Project Spaces (5 May – 19 June) relating to the Rosc exhibitions. The display will be complemented by a programme of talks, artist commissions and a symposium in the Autumn. Through this inquiry we hope to revisit the art historical account of Rosc in terms of its intentions, impact and legacy, particularly as it relates to IMMA.

On 5 May, the exhibition opened with an introductory talk by curator Sean Kissane. Listen back to this talk below:

There are many accounts of Rosc and a wealth of information in the archives of NIVAL, RTÉ, the Irish Photo Archive and many other public and private archives. We hope, over the course of this inquiry, that some of the myths and realities of Rosc, particularly with regard to its impact on the public and on Irish art and artists, can be explored and that this will contribute to a renewed understanding of Rosc.

Rosc attracted large audiences and considerable public interest evident in the early Roscs in the large attendance numbers and numerous letters to the paper. As a relatively recent event, still within lived memory, we are interested in hearing about people’s memories of Rosc. We are inviting people to visit the Rosc display in IMMA’s Project Spaces (5 May to 19 June 2017) and to contribute their memories to this growing archive. You can also do this using #ROSC50 or by email to ROSC50@imma.ie

The first Rosc exhibition took place in 1967 in the Royal Dublin Society (R.D.S.) and then ran approximately every four years until 1988. In the absence of a museum of modern art, the purpose of the Rosc exhibitions was to provide an opportunity to display international modern and contemporary art for an Irish audience and also to situate Ireland within an international art context.  The intention, set out in the first Rosc exhibition, was to show the work of the fifty ‘best’ living artists who were chosen by a jury of three international selectors.

The Tau Cross of Kilnaboy arriving at the National Museum, Rosc ’67 (photo: RTE newsreel still, RTE Archives)

Each Rosc exhibition was accompanied by a supplementary exhibition intended to create a dialogue with the main exhibition. For example, the first Rosc exhibition in 1967 was supplemented with an exhibition of ancient Celtic art to draw attention to the relationship between the inherent tendencies towards abstraction in such objects and abstraction in modern art. However, the proposal to remove several ancient monuments from their original sites such as the Tau Cross of Kilnaboy and to situate them within an exhibition of modern art evoked considerable public consternation and numerous letters to the paper.

There were many controversies associated with Rosc during its 21 years, most notably the exclusion of Irish artists from the first two Rosc exhibitions and the ongoing debate about the representation of Irish art and artists in Rosc. There were no Irish artists in the first two Rosc in 1967 and 1971, and only two artists – James Coleman and Patrick Ireland – were included in the 1977 Rosc.

Clement Greenberg, Rosc ’80 (left) Marta Minijin’s James Joyce Tower, Rosc ’80, UCD, Earlsfort Terrace. Photo: Dorothy Walker Estate (right)

The Rosc exhibitions attracted large audiences and the Department of Education enabled all schools to take a day to visit the exhibition, establishing an important precedent which was sustained for the subsequent Rosc exhibitions. The Rosc exhibitions also received considerable national and international critical attention. The American art critic Clement Greenberg was a regular visitor and can be seen here with a loaf of Buttercrust bread which he liberated from Argentinian artist Marta Minijin’s James Joyce Tower at Rosc ‘80. Minijin used 5,000 loaves of Buttercrust bread to create a replica of the Martello tower in Sandycove associated with James Joyce. At the end of the event, the bread was given away to the public. According to art historian and critic Dorothy Walker, who was one of the members of the Rosc committee, ‘Greenberg rather liked coming to Ireland for a good argument.’[1]

Ulay/Marina Abramović, Rest Energy, Performance for Video, 4 minutes, ROSC’ 80, Dublin, 1980 © Ulay/Marina Abramović, Courtesy of the Marina Abramović Archives

Rosc provided an opportunity for some emerging international artists to be shown in Ireland for the first time. For example, Marina Abramovic and Ulay first performed Rest Energy in Rosc ’80, which involved Ulay holding a steel arrow pointed directly at Abramovic’s heart for four minutes. Rosc also enabled established artists such as Joseph Beuys, who featured in Rosc ’77 and Rosc ’84 exhibitions, to build on existing relationships with Ireland and to reach a wider audience.

Joseph Beuys and President Patrick J. Hillery, Rosc ’84 Photo: Irish Photo Archive http://www.irishphotoarchive.ie

The Rosc exhibitions took place during a particularly volatile period of social, cultural and political change. The Troubles, which began in the early 1970s and continued into the 1990s, had an impact on the level of public and critical engagement with Rosc. As Dorothy Walker notes:

Kienholz had wished to install his version of Russian roulette, which involved the extremely remote possibility that a spectator taking a seat opposite a loaded rifle would activate the mechanism and shoot him or herself dead. While not wishing to curb the creativity of the artist, the selection committee felt that, at that time in Ireland, there was enough unsolicited violence and killing without introducing a life-or-death gamble into an art exhibition. (Dorothy Walker, 1997, p. 132)

Rosc was dependent on the commitment and dedication of many individuals and they secured significant levels of state and commercial sponsorship even during the financially constrained 1980s. Rosc is also notable for the level of political patronage and support it secured most notably from Charles J. Haughey who was variously Honorary President and Vice-President of Rosc for the duration of the Rosc exhibitions. The centrality of his role is reflected in the work From the Animal Farm: Charles J. Haughey, 1988, by Tim Rollins and K.O.S. collective, which was made for the last Rosc in 1988.

Taoiseach Charles J. Haughey observing From the Animal Farm: Charles J. Haughey, by Tim Rollins and K.O.S., 1988. Photo: Irish Photo Archives

There is no doubt that the Rosc exhibitions made an enormous contribution to the Irish art environment, both in terms of what they did and failed to do. They provided an opportunity for a range of contemporary practice to be seen on a large scale, they created an appetite for art even if, in some cases, it was for the controversy it engendered. They secured a level of political patronage that remains unprecedented and, in their selections and exclusions, they emboldened Irish artists to assert themselves in this contested sphere of contemporary practice.

To open the presentation of archival material in the Project Spaces, Exhibitions Curator, Seán Kissane, gave an introductory talk about Rosc at 1:00pm on Friday 5 May in the lecture room.

On the 15 May IMMA/NIVAL Researcher Dr. Brenda Moore McCann will give a presentation on her research into the international artists’ experience of Rosc. On 31 May, we will also have panel discussion featuring several of the Irish artists, including Kathy Prendergast, Robert Ballagh and Nigel Rolfe, who were involved in Rosc chaired by Christina Kennedy, Head of Collections, IMMA.

[1] Dorothy Walker, Modern Art in Ireland, Dublin: Lilliput Press, 1997, p. 133.

Introducing ROSC 50 – 1967 / 2017 View of Rosc '67 showing paintings by Lichtenstein and Picasso, Anne Crookshank. Rosc, which means ‘poetry of vision,’ was a series of exhibitions of international art that took place approximately every four years between 1967 and 1988.

[karolinkent-blog]

X-PO

Public art space in rural context.

X-PO started life as a public art project that sought to actively engage individuals and communities in Kilnaboy in County Clare, by giving time and space to re-viewing and re-imagining the social and cultural priorities in what is a rapidly changing rural landscape and an area of outstanding natural beauty, the Burren. Kilnaboy is a scattered parish of a few hundred households. A national school and a church are all that it possesses in the way of civic amenities. Once there were a couple of shops, a blacksmith, and a Post Office. But, like much in rural Ireland today, that was once upon a time. The changing face of farming and the necessity for many of a long daily commute to and from work in nearby towns and cities have presented a challenge to rural communities like Kilnaboy.

http://www.deirdre-omahony.ie/public-art-projects/x-po.html

[wanderinggoy]

Killinaboy (2015)

[theirishaesthete]

An Unexpected Detail

The now-roofless church in Kilnaboy, County Clare is similar to many others in the region, dating from the 11th century with subsequent additions such as the late-mediaeval east window (seen above). One unexpected feature of the building can be found over a door on the south side: a Sheela na gig. For those unfamiliar with these figures, of which around 100-odd exist in Ireland, they are believed…

[mythopoetical]

Hole of Sorrows by An diabhal glas on Flickr.

[nineherbscharm]

molotov - KilnAboy

[irelandexperience-blog]

Kilnaboy Cathedral

The Double Cross: This was the Cross of Lorraine and is a relic of the true cross.

Above the entrance to the inside of the cathedral is a stone figure specifically carved to ward off evil from entering.

[callmeacrusty]

KilnAboy - Knock Me Down With a Feather (by Brian Sweeny) The advert on the telly, said join the army, be the best! They told me I could drive a tank but I was not impressed.   Soldiers life is not for me, I could not toe the line. So stuff your queen and country where the sun don't shine! 

[claredotcom]

Walks in the snow #snowday #ireland #ireland_daily #coclare #burren (at Kilnaboy, Clare, Ireland)

[callmeacrusty]

If you don't know who these guys are, you should. They're awesome anarchist traveller-types, and nice guys too. The music reflects my politics rather well. 

[callmeacrusty]

Everybody needs this song in their life. 

it needs more love. It's beautiful. 'Time' -Brian from KilnAboy