Recovering the voices of woman painters in the north of Ireland (1957-1969)

这一博士学位的拟议研究主题将是评估从1957年(阿尔斯特女艺术家协会成立)到1969年(爱丽丝·伯杰·哈默施拉格去世)爱尔兰北部被忽视的女画家的视觉历史。它将集中和安置一些对该国艺术实践产生巨大影响的女画家，尽管与他们的男性同行相比，她们没有被记录或大力研究。在分治之后和冲突之前的几年里，这些妇女塑造了国家情报机构的社会和文化特征；因此，重要的是恢复她们的声音。第一个将研究和评估爱丽丝·伯杰·哈默施拉格的作品，她是五六十年代贝尔法斯特视觉文化的核心人物。她教书，参与了抒情剧院，与阿尔斯特博物馆的艺术策展人安妮·克鲁克申克关系密切，并通过她的画廊-新画廊向贝尔法斯特的观众展示了国际现代艺术。阿尔斯特博物馆收藏了33件她的作品，并通过她的画廊购买。她还被音乐和艺术鼓励中心(CEMA)收藏，该中心后来成为北爱尔兰艺术理事会。对这些物品进行评估并撰写她的传记，将有助于了解她的工作以及当时中国对视觉文化的态度。第二项研究将评估女性画家如何经常使用协作方法来确保自己的专业地位。观看奥利弗·亨利和格拉迪斯·麦凯布的作品，以及他们建立的阿尔斯特女艺术家协会。它将分析他们作为个人画家的作品、与他们有关的档案馆藏品、其成员及其在1957-1969年间的活动。以阿尔斯特博物馆的美术收藏和档案为主要来源，本研究将以实践为导向的档案(展览策展)。博物馆拥有这一时期(1957-1969年)的大量目录和图片档案；尽管这些藏品很有价值，但它们并没有在妇女研究和女权主义艺术史的背景下得到充分的数字化或审问。详细的档案研究将伴随着视觉分析，并通过社会和文化史进行背景分析，以评估和质疑这些北爱尔兰妇女对爱尔兰艺术、艺术以及她们在艺术史上的隐身性的影响。通过审问目前被接受的北方艺术经典如何导致这些女性不被承认，这个项目是一种女权主义补救行动，试图挑战女画家的隐形性。

The proposed research topic of this PHD will be to assess the overlooked visual histories of women painters in the North of Ireland from 1957 (when the Ulster Society of Women Artists was founded) to 1969 (the death of Alice Berger Hammerschlag). It will focus and place a number of women painters that had a huge impact on the artistic practice of the country, though have not been recorded or vigorously researched in comparison to their male counterparts. These women shaped the social and cultural identity of NI in the years following partition and preceding the conflict; therefore it is important to recover their voices.Within the project there will be two case studies. The first will research and assess the work of Alice Berger Hammerschlag who was central to the visual culture of Belfast in the fifties and sixties. She taught, was involved in the Lyric Theatre, had a close relationship with Ulster Museum art curator Anne Crookshank and is credited with exposing Belfast audiences to international modern art through her gallery - The New Gallery. The Ulster Museum holds thirty-three works by her and purchased through her gallery. She was also collected by the Centre of the Encouragement of Music and the Arts (CEMA) which became the Arts Council of Northern Ireland. Assessing these objects and compiling her biography will shed light on her work and the attitude to visual culture in the country at that time. The second study will assess how women painters have often used a collaborative approach in order to secure their place professionally. Looking at the work of Olive Henry and Gladys MacCabe and their establishment of the Ulster Society of Women artists. It will analyse their work as individual painters, holdings in archives in relation to them, its members and its activity between 1957-1969.Taking the Ulster Museum fine art collection and archive as the primary source, this research will be archive led with a practice based strand (exhibition curation). The museum holds an extensive catalogue and picture file archive of this period (1957 - 1969); despite the value of these collections, they have not been fully digitised or interrogated through the context of women's studies and feminist art history. Detailed archival research will be accompanied by visual analysis and contextualised through social and cultural history in order to assess and question the impact of these Northern women on Irish art, art, and their invisibility within art histories. Through interrogating how the current accepted artistic canon of the North has led to these women being unacknowledged, this project is an act of feminist redress that seeks to challenge the invisibility of women painters.