ISSN 0263-9475 Buy this issue online: click here.
Issue 106, Winter2003
Regular columns: Visual Arts/North Visual Arts South Film and Television Slave to the Machine Fifth column Update
See (preview section)
Front cover: Brian Hand: from The car called the Manager
Theme: Art and Film
Cocteau: Il était une fois James Armstrong explores the continuing significance of Jean Cocteau's La Belle et la Bete in visual culture Art and film: an unruly dialogue by Mick Wilson Excluded by the nature of things? Irish cinema and artist's film Maeve Connolly looks at the policies and some of the products Project: The car called the Manager Brian Hand (additional photography credit: Ros Kavanagh) n.i.-film-art-docu-drama by Declan Sheehan Retelling history from lost sources Orla Ryan examines the use of 'found footage' as a critical tool in art practice
Cocteau: Il était une fois James Armstrong explores the continuing significance of Jean Cocteau's La Belle et la Bete in visual culture
Art and film: an unruly dialogue by Mick Wilson
Excluded by the nature of things? Irish cinema and artist's film Maeve Connolly looks at the policies and some of the products
Project: The car called the Manager Brian Hand (additional photography credit: Ros Kavanagh)
n.i.-film-art-docu-drama by Declan Sheehan
Retelling history from lost sources Orla Ryan examines the use of 'found footage' as a critical tool in art practice
Features
The state of Irish Art History The teaching of art history in Ireland: what it's like, and what should it be like? Here James Elkins gives his thoughts on the matter "Museums patronise, isolate and neutralise artists" In the final of this series of articles, Gemma Tipton looks at the relationship of both the artist and the architect to the gallery space
The state of Irish Art History The teaching of art history in Ireland: what it's like, and what should it be like? Here James Elkins gives his thoughts on the matter
"Museums patronise, isolate and neutralise artists" In the final of this series of articles, Gemma Tipton looks at the relationship of both the artist and the architect to the gallery space
Reviews
Paris: Dead Bodies at Centre Culturel Irlandais Belfast: And the One Doesn't Stir Without the Other at the Ormeau Baths Edinburgh: After Image at the Fruitmarket Bristol: Lucy Gunning Portadown: Alice Maher at Millennium Court Arts Centre Dundee: Claire Barclay at Dundee Contemporary Arts Inishowen: Beacon head>land at Fort Dunree Derry: Consuming Identities at Context Gallery and Workhouse Museum Dublin: Woollenmaiden Hús at Project Rome: Think Over at Rialto Santambrogio Sligo: Vivienne Roche at Model Arts and Niland Gallery The Day's All Mine, by Heather Allen Cork: Daphne Wright at Crawford Belfast: Perspective 2003 at the Ormeau Baths Derry: Ciarán O'Doherty at Context Dublin: Dearcadh: Visionaries of 1791-1803 in Kilmainham Gaol Dublin: Superbia at 11 Coultry Gardens, Ballymun London: Breda Breban at St. Augustine's Tower and 99 Hoxton Street Belfast: John Duncan at Belfast Exposed Lisbon: Veneer/Folheado at ZŽ dos Bois Kilkenny: Ursula von Rydingsvard at Butler Gallery Belfast: Veneer/Folheado at Catalyst Manchester: Grace Weir at Cornerhouse
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