- Format: Hardcover
- ISBN: 978-1-7849-9144-9
- Pages: 240
- Publisher: Manchester University Press
- Price: £80.00
- Published Date: August 2017
- BIC Category: History of art, History, United Kingdom, Great Britain, Photography & photographs, Northern Ireland, The arts / Photography & photographs, European history, PHOTOGRAPHY / Subjects & Themes / Regional, ART / History / Contemporary (1945-), HISTORY / Europe / Great Britain, HISTORY / Europe / Ireland, Ireland, The arts / History of art / art & design styles, Northern Ireland
Since the signing of the Good Friday Agreement in 1998 - the formal end-point of the thirty-year modern 'Troubles' - contemporary visual artists have offered diverse responses to post-conflict circumstances in Northern Ireland. In Ghost-Haunted Land - the first book-length examination of post-Troubles contemporary art - Declan Long highlights artists who have reflected on the ongoing anxieties of aftermath.
This wide-ranging study addresses developments in video, photography, painting, sculpture, performance and more, offering detailed analyses of key works by artists based in Ireland and beyond - including 2014 Turner Prize winner Duncan Campbell and internationally acclaimed filmmaker and photographer Willie Doherty. 'Post-Troubles' contemporary art is discussed in the context of both local transformations and global operations - and many of the main points of reference in the book come from broader debates about the place and purpose of contemporary art in today's world.
'Ghost-Haunted Land is afoundational work of art criticism that will stand alongside Colin Graham'sstudy of photography and the North as a first point of reference for anyoneinterested in the Troubles and their cultural legacies.'
Nicholas Allen, IrishTimes, December 2017
Declan Long is Lecturer in Modern and Contemporary Art, and Programme Director of the MA Art in the Contemporary World, at the National College of Art & Design, Dublin
1 Same difference: post-Troubles context and contradictions
2 New terrains: 'Northern Irish art' in the wider world
3 The post-Troubles art of Willie Doherty
4 That which was: histories, documents, archives
5 Phantom publics: imagining ways of 'being together'
Conclusion - or against conclusions