The National CollegeInstitutions
John Kelly: An Artist's Contribution to the Development of the Visual Arts in Ireland.
Brenda O' Reilly
This essay explores the powerful impact of the Project Arts Centre on the Irish art world and the association of the artist John Kelly with it. The ups and downs of the Centre will be discussed; from its humble beginnings in the late 1960s to the success it became and continues to be. The article will also examine the lack of support from the Arts Council and how this has affected the centre.
The Project Arts Centre came into existence because of a need for a central, frequently used venue for the fresh young talent waiting to get exposure. As Gerald Davis states:
'The Project came after The Independent Artists. The Independent Artists was just a group of painters who had the balls to put on a show together. Then there was another wave of painting that came up. You see these were the young lions of Irish painting…' (Davis, 2000).
These 'young lions' were about to embark on a course that would create a hugely interesting era in Irish history.
The roots of the Project go back to the Gate Theatre in 1966. A three-week festival was organised by Jim Fitzgerald and Colm Ó Briain, who worked as directors in the drama department of RTÉ. One-act plays, poetry readings, concerts, music and lectures all occurred at the festival plus an art exhibition in the foyer of the theatre. One of the artists who exhibited there was John Kelly.
This was not Kelly's first association with the Gate Theatre. According to Gerald Davis, he had been the author of two plays, which were produced there in the 1950s. Davis recalls one of them being a 'very Beckett-type play' (Davis, 2000), because of its depressing content. Kelly was very interested in theatre, both verbally and visually, therefore it was not a surprise that he became involved.
This venture was optimistically called Project '67. The concept was a success, but financially it was not. The original funding was supplied by a new theatre group called Imprimatur Productions, but the 'cost was heavy' (Fallon, The Irish Times, 1969) for this young company. In the same article, Brian Fallon mentions that the group approached the Arts Council for funding but were refused, however Colm Ó Briain disputes this. Ó Briain recalls that the group did not approach the Arts Council until they had a permanent base and were up and running.
In 1967, the Project was offered two rooms above Tuck and Co. Ltd. in Lower Abbey Street. The building belonged to Colm Ó Briain's father and it was here where Ó Briain first encountered John Kelly.
'Jim Fitzgerald and John Behan introduced me to John Kelly and the others. We asked John Behan to come and look at these rooms. We asked him would this space make an art gallery, as it was two flights up. However the Dawson Gallery was on the first floor and the Richie Hendricks gallery was on the first floor. The idea of galleries being upstairs wasn't unusual. It was possible but a lot of work was needed. This was when I first met John Kelly' (Ó Briain, 2000).
Kelly became an integral part of the Project. He contributed both mentally and physically to the running of this centre. The physical side consisted of the manual labour required and the mental input consisted of setting up what the group hoped would eventually be a non-profitable, co-operative organisation.
After months of hard work, the Project was ready to open its doors and give 'good but untrendy painters […] a chance to showcase their talents' (Fallon, 1969). John Behan was the first to display his work in the new gallery space. The Project Gallery wanted to encourage thought and creativity, to make art accessible to everyone. It was not rejecting the established arenas such as the RHA and the Hendricks and the Dawson galleries. Instead, they were creating an environment which was more relaxed and 'user friendly', thereby being ahead of its time. John Kelly summed up for which purpose the Project was created when he stated that it was a centre 'run by artists for artists' (Kelly, 2000, p.15).
For the first year of its existence the Project was 'maintained by Colm Ó Briain's RTÉ salary and income from John Behan's work' (Short, 2000, p.15). The venture was considered radical for its time. The Project group had a policy of 'doing it for themselves', but how long could they continue to fund the Project gallery themselves? In reality, this was not to be for long. The Project was a serious enterprise and it was time to look for some funding from the State.
The group approached the Arts Council, and applied for financial assistance. The Council refused to fund the Project as a whole or fund solo exhibitions, but what they did offer was a 'guarantee against loss' fund for group shows. This amounted to eight hundred pounds for the year: a small amount. The response from the Arts Council speaks for itself. Bord Fáilte gave four hundred pounds towards publicity.
To rub salt into the wounds, the Arts Council did little for the group in its purchasing policy. Both Bruce Arnold and Tony Butler remarked on this lack of support for groups like the Independent Artists and the Project. In his book Dreams and Responsibilities, The State of the Arts in Independent Ireland, Brian P. Kennedy states that both men 'argued that the Arts Council's duty was to purchase the works of talented young artists like Michael Kane, James McKenna and John Bean, instead of buying large numbers of works by established artists' (Kennedy, 1990, p.156). It seems that the very body which was set up to aid artists was selective in who they chose to support. Colm Ó Briain recalls one absurd reason given for this lack of support:
'One member of the Arts Council was asked by a journalist why they didn't support or buy from the Project, he replied that it was because it was too far away. The other two galleries were in St Stephen's green. Project was in Abbey Street. Geographically, psychologically and politically out of mind' (Ó Briain, 2000).
However, the Project Gallery continued to survive. The list of members grew, as did the list of artists wanting to exhibit. Things were running smoothly. Nevertheless, bad news was waiting around the corner. The building they were using had been sold. The Project needed new premises. Fortunately, it was suggested that they take a look at the basement of the YMCA building on the same street.
In April 1969 the Project Gallery moved there, opposite the Abbey theatre. Again, a lot of work needed to be done. The group worked feverishly and on the 3rd of September 1969, the doors were re-opened. The group began producing a newsletter to publicise its activities. The first show in the space was an exhibition of paintings and sculptures called 'INUNDER'. It is unclear if John Kelly exhibited at this particular exhibition. There are records of him exhibiting in this new venue at the Independent Artists group shows in 1970 and '71 and in a solo show in 1970.
John Kelly's involvement and dedication to the running of the Project Gallery was apparent to everyone. Colm Ó Briain states
'John did a huge amount of work. [...] John was on the committee from the beginning. He was always quite retiring, rather than in the forefront. Nevertheless, he was the backbone, very solid, very committed to the ideal. It was inevitable that rows would breakout. John, I recollect, had the common sense approach; he helped the group to stay together. There were stormy sessions when people walked out. John was always a calming force. He never walked out. There was a core that people could return to. John was part of that core' (Ó Briain, 2000).
That core was vital to the survival of the Project. If it was to attract members, it had to be a stable organised assembly. Members could involve themselves in the organisation of events but were under no obligation. It is not clear if the group ever really were an artistic co-operative. In the Project's newsletter published in 1969, Lee Gallagher portrays the Group as being 'virtually an artists co-operative' (Gallagher, letter). Yet, Brian Fallon wrote in 1969 that the chances of this happening were unfortunately very slim: 'Regretfully it seems a long way off, for the Project has a heavy overdraft and finds itself forced to charge an artist the usual 33.33% commission on the profits of his exhibition' (Fallon, 1969). This argument, however, became invalid when the group became a company in 1970. One realised that a wider network of support was needed. A large number of patrons was invited to subscribe a small annual fee of five pounds to the Project. The gallery was renamed the Project Arts Centre. There was also a more comprehensive programme of events, due to the larger space. The venue was used for theatre, music sessions, films, drama and poetry readings, as had been the intention from the beginning.
In 1972, the Project had to move again, as the present lease was not renewable. The problem was aired on the radio programme Appraisal and an American businessman; Mr Charles Merrill offered a venue. However the lease would only be for one year. This was the Project's third premises in less than six years. The Project Art Centre re-opened in June 1972 and the agenda for the next few months included an exhibition by the Graphics Studio, of which John Kelly was now the director. There were one-person shows by Maria Simmons-Gooding and Ciarán Lennon. The Theatre would have three productions. On Saturday and Sunday afternoons various styles of music would be performed and the group hoped that poetry readings would become regular fixtures.
John Kelly remained on the committee and was very valuable in the selection procedures required for individual shows. Colm Ó Briain recalls:
'John was one of the most important people in relation to the selection of exhibitions, his generosity to other artists and in particular his discerning eye. I remember artists being told in a courteous way: "Not yet". They weren't ready; it wasn't rejection' (Ó Briain, 2000).
Kelly recalls this selection procedure, 'sometimes work submitted could be interesting but rough, and the artist would be advised to wait and submit later' (Kelly, 2000, p.15). Kelly himself had three solo shows in 1957, 59 and 1960 in the Hendricks gallery. He did not have another one until 1972. The Independent Artists group and the Project Arts Centre seem to have consumed most of his time.
The Project Centre's lease for the King Street premises expired early in 1974. The group was once again homeless. However it was not long before the Project acquired a disused printing works in East Essex Street in Temple Bar. Music events, film work and theatre production increased with the move. The Project continued to develop over the next two decades and is even bigger and better today.
John Kelly left the Project in the late 1970s. His contribution had been fundamental to the beginnings, continuing existence and success of the Project Arts Centre. The Centre itself had enabled many Irish artists to exhibit their work and after four decades it continues this important work.
Bibliography
ANONYMOUS, 'The Project', Art Bulletin, Vol. 18, No. 93, October/November, 2000, pp. 13-18.
FALLON, Brian, 'Arts Project,' Irish Times, 6th December 1969.
FALLON, BRIAN, Irish Art 1830-1990. Belfast: The Appletree Press, 1994.
GALLAGHER, Lee, (Committee member Project Arts Centre) letter to Bruce Arnold (Art Critic for Irish Independent) 1970.
KENNEDY, BRIAN.P, Dreams and Responsibilities. The State of the Arts in Independent Ireland, Dublin. 1990.
Interviews
COLM Ó BRIAIN, Vicar Street Bar, Dublin, 11th October 2000.
GERALD DAVIS, Davis Gallery, Dublin, 12th October 2000.
