Category: Exhibitions & Events

“Untitled (Text Panels)”, 2004
28 colour inkjet prints mounted to PVC
various sizes, produced for EV+A 2004, installed adjacent to artworks
Collection of Limerick City Gallery

The work was made for a large annual group exhibition that generally struggled with interpretative materials, especially curatorial wall panels.

The proposal text below explains the project. A lot of the writing was done during the final week of installing the exhibition as works arrived and final cuating decisions were made by Zdenka Badovinac for the  2004 ev+a was ‘Imagine Limerick’.

Dear Zdenka,

You are probably almost finished your selection for EV+A by now and I know this is quite late getting to you. Apologies. I had an idea for a proposal but actually fell sick with flu over the last week and as I went off-colour so did my initial concept. Nevertheless, suddenly, as I recover, it seems like something that may actually be useful to you and so I am sending you this short proposal.

The idea came to me after attending some talks at last year’s EV+A. Many issues surrounding the exhibition were discussed in a two-day informal session. One of the things I had noted was how the interpretative devices used by for the show always seemed quite poor during the exhibition. The catalogue is normally towards the end of the exhibition and in the mean-time there is not a lot that comes between the viewers and the art. This is not necessarily a bad thing.

My idea was to write interpretative text panels for all the exhibition spaces in EV+A. These could be written in conjunction with the selector/curator but I would prefer it to be a commentary on their selection rather than a collaborative initiative. The texts would be short, pithy and not entirely descriptive. Rather than explain everything they would add an additional narrative to the selection (while also guiding viewers towards thinking about the work on display). The writing would need to be done in the two weeks running up tot the opening of the show so that the panels could quickly go through graphic design production and installation. I would need to be in situ in Limerick for this and co-ordinate closely with the EV+A administration and yourself.

Regarding my experience, I have exhibited in Limerick City Gallery several times, as part of EV+A and also with a solo exhibition in 2000. I write a regular column for the SSI Visual Artists Newsletter and am a member of AICA. I have also visited Slovenia recently and there should have been a twist to this proposal but it didn’t happen due to this dam flu. Hope you have time to consider this and that we get a chance to discuss this further.

Best regards,

Alan Phelan

Duratrans photograph with solar powered turning mechanism, PVC, self-adhesive vinyl, paint, video monitor, VHS video player
duration: 3 minutes
installation size: 225 x 125 cm

The work surveyed the development in West Dublin where Phelan grew up, presenting a mixed media map reflecting the changing cultural and physical infrastructure. The piece combined a variety of references detailed below:

1. “When I was teaching at Cooper Union in the first year or two of the fifties, someone told me how to get onto the unfinished New Jersey Turnpike. I took three students and drove from somewhere in the Meadows to New Brunswick. It was a dark night and there were no lights or shoulder markers, lines, railings, or anything at all except the dark pavement moving through the landscape of the flats, rimmed by hills in the distance, but by stacks, towers, fumes, and colored lights. This drive was a revealing experience. The road and much of the landscape was artificial, and yet it couldn’t be called a work of art… The experience on the road was something mapped out but not socially recognized.”
Talking with Tony Smith by Samuel Wagstaff, Jr., 1968
[Vinyl wall text]

2. Sign from the fast food shop “nine one one” in an ESSO petrol station on the Navan Road, Dublin 15, opened in late 2002.
[Duratrans photograph with solar powered turning mechanism mounted on PVC]

3. The M50 Blanchardstown Roundabout (above)
The N3 Blanchardstown Roundabout (below)
[Vinyl wall graphic]

4. Green plots – places where I played as a kid – clockwise from the bottom right – home, neighbours, GAA, school, canal bank
[Green paint plots painted on wall]

5. Tony Smith (1912-1981)
Willy
1962, painted steel
92 x 216 x 144 inches
Willy is meant for viewer interaction! It invites people to sit on it, walk under and through it. In the minimalist style, it is a painted, hard-edge geometric abstraction. Smith is one of the most important sculptors to emerge from this minimalist style of sculpture. Willy’s name originated from a Samuel Beckett play entitled “Happy Days,” in which one of the characters is a grovelling husband “slithering around on the floor.”
[Self-adhesive wood effect wall vinyl]

6. “Journey to the Centre of a Roundabout”, the video
– shot on location walking around the central lamp post surround by trees on the Blanchardstown Roundabout.
[VHS video on monitor]

The work was made for the exhibition “Permaculture”, curated by Grant Watson and Vaari Claffey, Project, Dublin, 2003 and also exhibited at “Painting without Numbers”, Cluain Mhuire, Galway Arts Festival, Galway, 2003 curated by Deirdre O’Mahony.

paint, MDF pedestal, rolodex card, glass, LCD projector, DVD video player, amp, set of headphones
Projection 40 x 60 cm
installation size: 400 x 200 x 200 cm
duration: 9 minutes

This work is a projection of hands flicking through a rolodex accompanied by a voice-over of an American man (aka Wagstaff) recounting in detail the personal items he has donated to museums over the previous 20 years. The dialogue was improvised by the actor as he shuffled through the fictionalised index of Wagstaff’s household possessions. The work playfully addressed the collection of art as personal fetish, validating domestic items as collectables via the museum cataloguing process. The mounted rolodex card with Wagstaff’s Fifth Avenue address was found in the trash of a museum office that Phelan was working in for work experience after his studies.

The piece was made for “Perspective 2002”, Ormeau Baths Gallery, Belfast 2002 selected by Sarah Pierce and Jacob Fabricius. Also exhibited at “Small: The Object in Film, Video and Slide Installation”, Whitney Museum of American Art, New York, 2004 curated by Henriette Huldisch and at “The Art World”, Feinkost, Berlin, 2007 curated by Aaron Moulton.

blackboard paint, chalk, LCD projector, DVD video player, amp, 2 speakers
drawing size: 175 x 60 cm
projection size: 40 x 60 cm
duration: 11 minutes

“Lip Sync with Joe and Mel” used the questions of a radio presenter, repeated by a French man on a bus similar to a Linguaphone tape. Projected onto a chalked dripping screen, the work references the Mel Bochner work, “Language is Not Transparent”, to investigate the role of language in remembering and imitating but also assigning relevance to seemingly chance dialogue.

The work was made for the exhibition “Fabulations of Form”, curated by Sarah Pierce, Arthouse, Dublin, 2002 and shown again at “Oh show me your beauty when the witnesses have gone”, curated by Noel Kelly, ŠKUC, Ljubljana, Slovenia, 2007.

The focal point for “Three Stories” was local history, viewed as a form of cultural geography which was used to negotiate and explore notions of social history and create new social spaces.

Narratives from local history were re-interpreted and re-enacted in a contemporary context, as short dramas and gestures. The films were developed over a ten week workshop with participants from the county district in South Dublin. The intent was to blur the distinction between reality and fiction by shooting the films in a documentary style, in the tradition of the television docu-soap and video diary.

This project is a public art commission funded by South Dublin County Council, as part of the ‘in context’ per cent for art programme co-ordinated by Artworking.

Videos from the project were shown in other exhibitions including “Intermedia”, Triskel, Anglesey Street Garda Station, Cork, 2001 and “Let’s Get Ready”, Pixxelpoint, Novo Gorica, Slovenia, 2011.

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Associated texts

Video Docu-drama Workshops

The project began with a series of workshops from which three short films were made (currently in post-production). In September, 2000 a general call for participants was made locally in the south east part of the county council district through posters and leaflets distributed in shops, supermarkets, community centres and libraries. Seventeen people attended the first session and age groups range from 16-49 years. Working with an actor – Jennifer O’Dea – the ten week workshop, which began in late September 2000, taught participants how to be comfortable performing around each other and develop scenarios through improvisation exercises.

Production planning, scheduling, locations, props/costume gathering, final casting and rehearsals took place during the later weeks of the workshop.

The workshop took place in Ballyroan Library, Rathfarnham. We are grateful to the library staff for their assistance during the workshop and shoot.

Workshop participants

• Grainne Ahern
• Naomi Cahill
• Josephine Cunniffe
• Martin Cunniffe
• Tom Cunniffe
• Ken Heslip
• Mary Downey
• Emily Foynes
• Emma Granger
• Audry Harte
• Melissa Jameson
• Fergus Keane
• Dervila McGarry
• Dianne O’Connor
• Mary O’Shaughnessy
• Annie Sparrow
• Susan Stafford

Weeks 1-2

During the first two weeks the group were introduced to the project and each other. A typical class involved some warm-up exercises at the beginning along with group activities or games. Names games were important during these initial weeks so that the group could get to know each other better. In the second week we began some improvisation exercises, starting with word associations games and progressing a freeze-frame game where everyone had to act out an event that had happened during the previous week.

Weeks 3-5

In these weeks participants were asked to bring along a short story of local or family interest to work on during the session. These stories were represented as three still scenes with groups of approx. five participants. Below, in no particular order, are brief accounts of each story with the three stills noted after the title. At the end of week five when all the remaining participants had told and acted out the stories, three main themes were agreed upon by the group and the stories are ordered under these headings listed below

Dueling/Death >conflict resolution	Myths > falsity	Corruption > protest
Naomi Morgue Pub drinking; carrying coffin; drinking with corpses The owners of Morgans pub in Templeogue were also the undertakers. Customers in the pub often were interrupted by a coffin being carried through the premises as the corpses were stored in a back room of the pub. Customers were often enjoying a drink only a few feet from the dead.	Emily Hell Fire Club climbing; card game; discovery The Hell Fire Club was a notorious meeting place on the edge of Dublin Mountains where wealthy folks went to play cards. One evening a stranger arrived and joined the group, someone dropped a card on the ground and when looking under the table for it noticed that the stranger had hoofs instead of feet, apparently the Devil himself.	Tom Trip to Jail protest; arrest; jail visit In the 60’s some farmers made a peaceful protest in 60’s poor prices. They were arrested and sent to Kilmainham Jail, Tom’s father was one of the farmers. During a visit he remembers the gate of slamming behind him and thought he too was locked up. The visit was supervised by prison guards which seemed unfair treatment for such a minor crime, the farmers were released after 3 weeks.
Mary O Tar and Feathering tar/feather; flee; hidingDuring the War of Independence a British soldier was randomly attacked in Tallaght and tar and feathered. The men responsible fled the scene and went into hiding up the Dublin Mountains for 15 months.	Annie Ugly Wretchpointing; belittling girl; weddingFionn mac Cumhaill, celebrated hero warrior of Celtic literature had a spell put on him by an ugly woman so that he believed she was a beauty. She was often belittled for her ugliness. Despite this he was fooled by the spell and agreed to marry her.	Martin Egg Fightscorn, throwing; action stopped; protestTwo local boys and girls schools were involved in an egg fight. The resulting action by the school authorities meant that the annual Sport Day was cancelled. The students decided to go on strike, this attracted a lot of media attention including a national newspaper. The Sports Day was reinstated the year after.
Josephine Kilkee House Catfight; eating over body; cat under tableFollowing an argument between two men, one was killed. It is said that he still haunts the site where the murder took place and takes the form of a black cat. This place is currently occupied by a pub and restaurant.	Susan Twins Fagan stooped pair; loading up; all carrying loads over shouldersThe Fagan twin brothers from Knocklyn were notoriously mean; to stay warm in the winter they apparently bought one sack of coal and instead of burning it they would take turns carrying it around a field to keep warm.	Mary D Speaker Connolly Pub review of document; speech;drunken bunchSpeaker William Connelly was originally from Capel Street in Dublin City, he inherited some land in Tallaght and build a pub there.
Ken Rathfarnham Castle Bride suitors; duel; opening up wallTwo men who were competing over the hand of a woman for marriage decided to have a secret duel to decide the issue. They bricked up the woman behind a wall while the duel took place. Unfortunately they were both killed in the fight and the woman died eventually behind the wall. Years later her mummified body was discovered during renovations at the Castle.	Grainne Hell Fire Club card players; see hoof; devil vanishedOne evening a stranger arrived and joined a card playing group, someone dropped a card on the ground and when looking under the table for it noticed that the stranger had hoofs instead of feet, apparently the Devil. With that the Devil disappeared into a puff of smoke.	Audry Kings Cowboy building fences; whisper/bribe; celebratingSir John Black in the 17th century annexed a large piece of land that is now the Phoenix Park. There were protests but when the case went to court he bribed the magistrate thus getting to keep the land while also giving himself an annuity.
Dervila St Enda’s slapped on hands; classroom; marchingP.H. Pearse founded the boarding school St Enda’s in Rathfarnham in an effort to educate boys in a more supportive and Irish environment. He eliminated corporeal punishment and classes were taught through Irish. During the 1916 Rising volunteers which included some students marched to the city from the school	Dianne Walls of Tallaght walls protected cows; breaking walls; cows escapedThere used to be walls surrounding Tallaght, forming a fort. Livestock and people were safe behind these walls. Several raids took place and the structure was destroyed. This left Tallaght defenceless and destitute.	Fergus Death with an Evil Grin sick person; passing on a note; dead with grinThe first Earl of Ross in the 18th century had lead a decadent life. On his death bed a priest sent him a letter telling him to reform his ways, instead he redirected the letter to the pious Lord Leinster. Ross died with an evil grin on his face having played one final trick.

Week 6

The three main themes that emerged during the previous weeks were worked on during this week. Participants split up into three small groups and discussed was to develop the themes further. The results of the discussion are listed below, again in no particular order.

Conflict Resolution	Falsity	Protest
Room full of people fighting, fade to black, same room but with less people – as film proceeds there are less and less in the room – two are eventually left and the can’t remember what they are fighting over – last shot is of an empty room.	Situations where people misrepresent themselves or abuse their positions of power – sexual harassment in an office by executive and his secretary, making her do things she doesn’t want to keep her job.	Silent protest – not speaking or refusing to engage in a dialogue can be the strongest form of protest, whether dealing with an interrogator or even a teacher.
Four young people are fighting, as the scene progresses they become the older – switching the younger participants of the group for the older ones.	Priest and woman where the woman uses it to her advantage, the power relationship of the affair is reversed her as the man is in the vulnerable position.	Protest over a protest – domestic setting where the children replace the parents in an argument, serving them meals etc., if extended out into other aspects of life, school becomes an OAP day centre with dependency roles switched.
Various scenes of people cleaning themselves and their homes – the fight is against dirt not between individuals – neurotic cleaners or neat freaks – eventually you return to the dirt or dust from which you came – dirt never killed anyone.	Brother versus sister where one gets the other to give over concert tickets because the other skipped school.	Silent protest – in a crowd of people the most silent person can be the loudest in terms of protest, especially in a domestics scene with a few people, with one family member ignoring the fight.
Neighbours fighting over their hedges, a typical suburban scene with neighbours arguing over each others small gardens, one grows a tall hedge, the other a fence, the fight continues as one issue is resolved they find another thing to fight over – eventually they move into adjoining apartments in an effort to resolve the tension, but they just find something else to fight over.	Work situation, where power produces conflict, the boss versus the employee, one manoeuvring, manipulating over the weaker worker.	Protesters sometimes seem to just love the whole performance of protesting – love shouting, making noise, placards, almost rent-a-protester – when the issues fall away or are forgotten.
Arguments tend to use similar language – various settings show a group of four people arguing, although the people and locations change the words or sentences are the same – all repeating the same script.	A room with a group of people – they are all interacting silently and passing between them things that represent various kinds of corruption or blackmail, bags of coins, plastic baggies with powder, briefcase of cash, sod of earth – highlighting the exchange of commodities.	Protesting for the sake of it – protest scene of placards, posters and leaflets – instead all are blank, this set of protesters are replaced by a group with a diagonal line through their signage and then this group replaced by another with an opposite diagonal, forming an “X”.
Two people facing the camera not each other, having an argument and talking simultaneously – the cacophony continues with the two not making eye contact.	A person has a piece of paper stuck on their back with words like cheater, liar, unfaithful, thief – to get the sign removed they have to pay the injured party.	Silent protest – two people refusing to talk so send written notes to each other, their personal protests escalate with tape dividing the house apart, running down the centre of rooms, eventually leading to separate rooms being installed for the pair.
Difference between the way people look and act around each other can cause conflict – people of different heights, getting to close, invading personal space all result in intimidation.	Shadow of a person – the evil side of an individual, every time someone tries to do something their shadow undoes the work.
An argument is reversed – starting with shaking hands and progressing backward where an argument gains momentum although the words seem not to provoke or incite, the anger or intensity reversed as effect before cause.

Week 7

We decided on three scenarios to shoot based on last weeks ideas. They are listed below with locations and activities or action.

Dirt	Lies	Protest
Scenario Ideas	Scenario Ideas	Scenario Ideas
battle against dirtdust to dustneurotic cleaningshort film about houseworkdomestic – social – personal –environmental	people hiding real selflabelling peoplegroup therapy sessionlabel on shirt reveal truth overcompensating by lying	undefined protestdemo over the demosame words used repeatedlyinaudible words from chant sound melodic, rhythmic grunts
Location	Location	Location
domestic private spacesclose-up shots of activities	library seminar roomtherapy roomdomestic spaces	open neutral space – park, school yard, car parkinterior – two sofas in a room with opposing factions
Sound	Sound	Sound
just the sound of the activityno voiceover	each person tells a lie to camerasaying the opposite of what they are doing or what a badge say on their shirt	sound of the chanting and protestpossible narrators:striker talking en routevoiceover reporter on scene individual interviews
Activities	Activities	Activities
wearing a smog mask on a bikespraying front door mat with perfumecleaning cooked food on platetrimming foot corns, cleaning belly buttonrepeatedly polishing a floorwashing football boots with toothpickwhitening a pair of shoeswashing dishes that then go into a dishwasherscrubbing pebbles in a driveway individuallycleaning wall dashing with toothbrushdustingwiping words in the dustcleaning a toiletknocking over a cremation urnfoot prints in the dust	perfectionist but is really messy and disorganisedalcoholic claims to be a teetotallerbitch says she likes peopledealer is a concerned parent against drugsbimbo having a blonde momentmean but claims to be generousunfaithful but claims fidelitythief but never stealssmoker but moans about second hand smokevain but claims she is a messracist but loves foreignersilliterate but carries a magazine	leafletingbathroom fightwalking with placardschantinggroup huddlefood/flaskswarming by a fireblankets/deck chairsdispute over tacticslaughing and enjoyingjokerpassers-by

Week 8

This was rehersal time, with an extended workshop period we attempted to rehearse as best as possible for what we were going to be shooting in the following weeks.

As the pieces to camera or Lies were unscripted we did a run through with everyone once to get them thinking in character. Everyone then commented on what they thought of each others performance and what could be added or taken out.

The Dirt scenario was rehearsed though an excercise where participants were asked to do something normal like read a note to themselves to the group – practicing having to do a everyday activity in front of an audience and not over-act!

The Protest scene was tricky to rehearse but roles for everyone were assigned and we practiced some chants for the day. These were made into general non-descriptive chants as the protest has no actual issue or cause.

Week 9-10

The shoot took place over two weekends in December, 2000. Locations used were two of the workshop participants houses in Tallaght and Knocklyn, Ballyroan library and then onto Corkagh Park in Clondalkin, Dublin for the Protest shoot on a very cold December Sunday.

Dirt

Hands cleaning : spectacles, nails and cuticles, cooked food, a door mat, pebbles, a floor, grout between tiles, a car wheel, football boots, a fire place, a computer keyboard, dusting and cleaning product bottles

Lies

Each participant told a lie to camera claiming they were not: dishonest, a gossip, obsessively neat, a racist, vain, a flirt, an alcoholic, a chocoholic, forgetful, a gambler, a dealer, a smoker, a thief, and a wife with adulterous husband.

Exhibition

The exhibition was held in three venues in Rathfarnham Village, Dublin 14 with video monitors placed in the places pictured below. Initially it was to be held in January but various issues delayed it until the spring of 2001.

RathFarnham Castle Café

RE/MAX Orchard Properties

Rathfarnham Garda Station

Enthalpic Everything – Limerick City Gallery of Art
Pery Square, Limerick, Ireland
13 July – 12 August, 2000

Enthalpic Pleasures – Triskel Arts Centre
Tobin Street, Cork, Ireland
10 February – 16 March, 2000

There were two net art projects to accompany these exhibitions but the javascripts no longer function and at some point they may get re-coded and re-worked for Web 2.0 and beyond.

Statement

Desire is not satisfied; it’s expelled.
Robert Gluck, Jack the Modernist, 1986.

The world uses up its difference as it goes from one conversion to another and tends toward a final state of thermal equilibrium, heat death.
Ilya Prigogine and Isabelle Stengers, Order out of Chaos: Man’s New Dialogue with Nature, 1984.

If Gluck and Prigogine have anything in common it’s the anxiety from the decade they wrote in, one symptomatic notorious for narcissistic greed. The merger of a minor queer novelist and major physicist is inappropriate but my Enthalpic works follow a similar misguided trajectory – enthalpy being a term borrowed from the science of thermodynamics that describes change, or rather heat transfer that results in order out of chaos (entropy). This science is then applied to pipeline mechanics and further interpreted through business management-speak.

The Pig Traps begin as models of sludge collection ducts that are part of the scraping process of pipeline cleaning and maintenance. As transparent macquettes separated from their conduits they become something else. They are machine-made retro plastic shapes, piggy or doggie style receptors of light, transparent purveyors of light, a collection of orifices or holes, ultra-submissive machines awaiting desire or penetration, vacated projectors, a potential threesome, open-ended gas space heaters, receptacles for expelled semen or cum traps, passive viewers or onlookers, stylish empty-headed bareback fuck machines.

There are many conflicting ideas in the work that come together in the finished works. There is, however, no resolution attempted, the critical success factor projected through on of the Pig Traps states that you need to create relational oscillations, i.e., there are links here that need to be understood relationally, connections between conflicting objects, formats and texts which share a common narrative.

All of the works are subject to a set of critical success factors – primary process performance measures in project management. These occur as text within the works or a vinyl lettering on the walls. Each describe a factor for achieving enthalpic pleasure which can be understood as the heat between individuals during social or sexual interaction.

A large wall piece acts as the ultimate interpretative aid. Each part of the enthalpic everything exhibition was discussed with a business management consultant who recorded the dialogue on flip chart sheets. This data was then entered into Microsoft Project software and the resulting GANTT chart graphically breaks down the entire artistic or aesthetic experience into specific activities of looking, feeling and thinking. Links were then added between the works to calculate the elapsed time taken to understand the concepts in the show, as well as the slacks and delays that occur in the interpretative process.

Modern techniques and technology are used throughout but the aim of the work is to blend formal and interpretative strategies to create a different kind of visual experience, where language leads the viewer through possible narratives between the pieces.

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Associated text

Limerick City Gallery of Art

Pery Square, Limerick, Ireland

13 July – 12 August, 2000

Triskel Arts Centre

Tobin Street, Cork, Ireland

10 February – 16 March, 2000

There were two net art projects to accompany these exhibitions but the javascripts no longer function and at some point they may get re-coded and re-worked for Web 2.0 and beyond.

Statement

Desire is not satisfied; it’s expelled.

Robert Gluck, Jack the Modernist, 1986.

The world uses up its difference as it goes from one conversion to another and tends toward a final state of thermal equilibrium, heat death.

Ilya Prigogine and Isabelle Stengers, Order out of Chaos: Man’s New Dialogue with Nature, 1984.

If Gluck and Prigogine have anything in common it’s the anxiety from the decade they wrote in, one symptomatic notorious for narcissistic greed. The merger of a minor queer novelist and major physicist is inappropriate but my Enthalpic works follow a similar misguided trajectory – enthalpy being a term borrowed from the science of thermodynamics that describes change, or rather heat transfer that results in order out of chaos (entropy). This science is then applied to pipeline mechanics and further interpreted through business management-speak.

The Pig Traps begin as models of sludge collection ducts that are part of the scraping process of pipeline cleaning and maintenance. As transparent macquettes separated from their conduits they become something else. They are machine-made retro plastic shapes, piggy or doggie style receptors of light, transparent purveyors of light, a collection of orifices or holes, ultra-submissive machines awaiting desire or penetration, vacated projectors, a potential threesome, open-ended gas space heaters, receptacles for expelled semen or cum traps, passive viewers or onlookers, stylish empty-headed bareback fuck machines.

There are many conflicting ideas in the work that come together in the finished works. There is, however, no resolution attempted, the critical success factor projected through on of the Pig Traps states that you need to create relational oscillations, i.e., there are links here that need to be understood relationally, connections between conflicting objects, formats and texts which share a common narrative.

All of the works are subject to a set of critical success factors – primary process performance measures in project management. These occur as text within the works or a vinyl lettering on the walls. Each describe a factor for achieving enthalpic pleasure which can be understood as the heat between individuals during social or sexual interaction.

A large wall piece acts as the ultimate interpretative aid. Each part of the enthalpic everything exhibition was discussed with a business management consultant who recorded the dialogue on flip chart sheets. This data was then entered into Microsoft Project software and the resulting GANTT chart graphically breaks down the entire artistic or aesthetic experience into specific activities of looking, feeling and thinking. Links were then added between the works to calculate the elapsed time taken to understand the concepts in the show, as well as the slacks and delays that occur in the interpretative process.

Modern techniques and technology are used throughout but the aim of the work is to blend formal and interpretative strategies to create a different kind of visual experience, where language leads the viewer through possible narratives between the pieces.

I am working on some additional pieces at present where I hope to collaborate with a theoretical physics professor in Dublin who was involved in figuring out the fractal geometry of bubbles. The works will be illuminated photographs which used optical fibre technology.

List of works

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #1:

REDUCE MAN-HOURS USED TO EVACUATE BANALITY

“Irish Management Institute Window”

Colour Ink-jet print on vinyl, wood stretcher

“Irish Management Institute Classroom”

Video, duration 17 minutes; polycarbonate chair

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #2:

OVER-UTILISE STRATEGIES THAT CREATE GASEOUS PRESSURE

“Drag on a Fag”

Six c-type colour photographs, PVC, stainless steel

Vinyl lettering

“Decorated Tool”

Hammer, cigatette foils, polycarbonate chair

“Pigs at Work”

Five ink and graphite on velvet card

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #3: CREATE RELATIONAL OSCILLATIONS THAT MINIMISE EXHALATION

“Pig Traps”

Three acrylic sculptures on concrete pedestals, slide projection, video

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #4:

REPROCESS ACTIONS THAT RE-SYNCHRONISE HEAT BETWEEN INDIVIDUALS

“Bubble”

Clear plastic, polycarbonate, chain, air compressor, two acrylic chairs, vinyl lettering

“Flip Chart Sheets”

Felt-tip maker on paper

“Gantt Chart”

Colour ink-jet print, laminated

“Enthalpy Chart”

Off-set lithographic print

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #5:

TRANSFORM PARTNERSHIPS INTO COMPLEX ALLIANCES BASED ON TRAPS

“Anonymous”

Overhead projector, etched glass projection bed

“Enthalpy Kills”

Off-set lithograph cut-out, double wall polycarbonate, silver contact paper

“Pedestal”

Four c-type colour photographs, PVC

“CSF#5…”

Two c-type colour photographs, PVC

CRITICAL SUCCESS FACTORS IN ACHIEVING ENTHALPIC PLEASURE #6:

ENCOURAGE SPECULAR ACTIVITIES WHICH ARE LINGUISTICALLY VACUOUS

“Taxi”

Twenty panels of cork mounted onto MDF with rub down transfers; taxi destination instruction sheets, vinyl lettering

“Cloaked Pig”

Three panels of cork mounted onto homosote with rub down transfers, c-type colour photograph, PVC, MDF

Alan Phelan would like to gratefully acknowledge the assistance of the following:

ETP (Ireland) Ltd: Noel Kelly and Fergus O’Connell

Haus: Garret O’Hagan and Emer Shaw

Powderbubble: Leah Hilliard and Karim Rehmani

Office of Contemporary Art: Anya von Gösseln

Self-Rescue Mechanism was a collaboration between Jim Dingilian in New York and Alan Phelan in Dublin, exhibited at Arthouse, Dublin; The Art Exchange Show, New York; and EV+A 98, Limerick. The project was accompanied by a website which encapsulated the ideas explored by the artists through text, sculpture, interactive media, and installations.

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Associated Texts

Self-Rescue Mechanism was a collaboration between Jim Dingilian in New York and Alan Phelan in Dublin, exhibited at Arthouse, Dublin; The Art Exchange Show, New York; and EV+A 98, Limerick. The project was accompanied by a website which encapsulated the ideas explored by the artists through text, sculpture, interactive media, and installations.

The project used case studies of auto-erotic asphyxiation as source material but not to sensationalise but as back stories for a series of works exploring sentimental love. 12 installations were made for the Arthouse building in Temple Bar and an extensive website documented the online collaboration and chats between the two artist who were working from Dublin and New York at the time. The site was more than just chats but created several hyper-text narratives that rewrite the sexual transgression into stories of obsession, compulsion and romance.

This is a place between ideas and objects, a work zone where thoughts, narratives and plans were recorded and worked through in preparation for an exhibition at the Arthouse, Dublin from February 20th to March 20th 1998.

The web site is more than simply an opening up or highlighting of the creative process. It is as much about distancing as it is about creating connections. Multiple tracks will be taken without much concern for being on the right one.

We do not want to limit the collaboration to the two of us and welcome responses, comments and discussion. We need others like you – but not in order to interact with the work, not in order to complete the work – simply to work along side us.

The index page brings you to a series of black pages which are the entry points to stories, chat scripts, plans, and pictures.

The chat button at the top of most pages brings you to a bulletin board where new stories, ideas and comments were posted in preparation and delivery of the project.

Website: http://www.alanphelan.com/selfrescue/

LIST OF WORKS @Arthouse, Dublin

Feb 20th to March 20th, 1998

Ground Floor

Self-Rescue Mechanism # 1

scaffolding, blue lining fabric, wood, cement, voice-over of IRC script edits by Joe Duffy (duration approx 39 minutes)

Self-Rescue Mechanism # 2

wax cast chair

Self-Rescue Mechanism # 3

wax bottles, light fixture, aluminium shelf

Self-Rescue Mechanism # 4

video projection, foam screen, foam clothing (duration approx 25 minutes)

Self-Rescue Mechanism # 5

balsa wood soap-box cart, parachute, fan

Self-Rescue Mechanism # 6

1824 feet of foam tape, wax cassette tapes

Self-Rescue Mechanism # 7

speaker, microphone, solar cell, motor, magnets, lamp

First Floor Cafe

Self-Rescue Mechanism # 8

rope chandelier, slip knots, synthetic hair

Self-Rescue Mechanism # 9

off-set litho cut-out, double wall polycarbonate, flower arrangement

Self-Rescue Mechanism # 10

off-set litho cut-out, contact paper, double wall polycarbonate

Arts Information Bureau

Self-Rescue Mechanism # 11

acrylic tube, acrylic rods, sugar lenses

Self-Rescue Mechanism # 12

off-set litho cut-out, contact paper, leatherette, carbon ink, double wall polycarbonate

Lift

Self-Rescue Mechanism # 13

cb transmissions (duration approx 59 minutes)

[not installed and then reworked for an art fair in NY]

[contacts at the time – institution closed in 2002]

Tim Brennan, Artistic Director, and subsequently Niall Sweeney, Artistic Director,

Arthouse, Curved Street, Temple Bar, Dublin 2, Ireland

phone: +353-1-605 6800

fax: +353-1-605 6801

The Art Exchange Show,

2 Broadway, 17th Floor, New York

June 4-9, 1998

Towards a Self-Rescue Mechanism

(understanding the delight felt at the annihilation of the individual through a provisional situation)

– table top, folding chairs, fabric custom covers, citizens band radio receiver with periodic transmission of Joe Duffy audio recording of Internet Relay Chat discussions, grow-light bulb, electronic components, dialogic potential

– wax macquette for a scaffolding transmission tower, fabric custom cover (soft, slow melt)

– model for mass self rescue within a relational matrix (seating diagram)

– macrolon antenna radiation patterns

Two works were part of EV+A 98

Oct 2 – Nov 30, 1998

Self-Rescue Mechanism #10

Self-Rescue Mechanism #11

The works are located at:

Gaelteacht Cleaners Ltd.,

105 O’Connell Street, Limerick

What is an optimistic emphasis on the goodness of human beings called?

u r here

In our world we simply run out of directions after we have defined three dimensions (length, width and height for example). However there is no reason why there should be anything special about three dimensions apart from the fact that we live in a 3-dimensional world.

J: Can ships be ‘lost’ at the edge of the Earth?

A: Yes, at least in places where there are no mountains preventing this from occurring. The edge of the Earth is, in places a tremendous waterfall, and anything going over the edge will disappear into the ether. This can also happen to aircraft which fly off the edge.

You wait a few seconds and there’s no reply.

“Break one-seven for a radio check,”

… a little more nervously this time. The voice comes back,

“Push and go, radio check…”

Truth is clear to him,

he can see things others cannot see.

[chat] sorry, the www board is no longer active

Imagine an intermediary space, a place to pause but not linger, probably composed of two fixed walls and a few pieces of movable furniture meant to be uncomfortable, but don’t think of it in spatial terms, think of it as ideas projected back upon themselves.

[daniel] (fire washes the foolish)

“and they do” said Diderot

we chat regularily on IRC (internet relay chat)

on a channel called #sentimental on undernet servers

Mulligan’s Frog Hair Garden, by Jim Dingilian and Alan Phelan
Public art project with website for daily events listing and documentation.
10 May – 30 June, 1996

Artist’s Garden Project
Highland Park, Rochester, New York

Presented by:
the Highland Park Conservancy
Co-sponsored by the Monroe County Parks Department
& the Lilac Festival Committee
Produced during the Lilac Festival, Rochester, New York

Statement about the project:

“Gardens are sites of recreation. Ours is a dysfunctional sporting arena, a picturesque court, a parallel course, a tactically social space.

The park and garden provide a space, a social space where nature can be viewed in a controlled and carefully tended environment. Our garden fuses assorted visual structures in celebration of parallel fields in which social activities are located. The precision and mechanistic perfection of sports mirror the aesthetic architecture or structure of high culture. In other words, the status or symbolic significance that golf and tennis, as cultural activities, embody.

We are confused whether to pacify or activate you, the viewer. We, however, enjoy the opportunity to widen the expected sphere of activity for (public) art.

The scheduled daily events allow conversation between audiences and an exploration of our ambivalent relationship to nature, culture and other things.

We want to dialogue with you.”

---

Associated texts

Public art project with website for daily events listing and documentation.

10 May – 30 June, 1996

Artist’s Garden Project

Highland Park, Rochester, New York

Presented by:

the Highland Park Conservancy

Co-sponsored by the Monroe County Parks Department

& the Lilac Festival Committee

Produced during the Lilac Festival, Rochester, New York

Statement about the project:

“Gardens are sites of recreation. Ours is a dysfunctional sporting arena, a picturesque court, a parallel course, a tactically social space.

The park and garden provide a space, a social space where nature can be viewed in a controlled and carefully tended environment. Our garden fuses assorted visual structures in celebration of parallel fields in which social activities are located. The precision and mechanistic perfection of sports mirror the aesthetic architecture or structure of high culture. In other words, the status or symbolic significance that golf and tennis, as cultural activities, embody.

We are confused whether to pacify or activate you, the viewer. We, however, enjoy the opportunity to widen the expected sphere of activity for (public) art.

The scheduled daily events allow conversation between audiences and an exploration of our ambivalent relationship to nature, culture and other things.

We want to dialogue with you.”

Website: http://alanphelan.com/Mulligan/index.html

Daily Events

May Lilac Festival Events

Lawsuit Day

Friday 10 Embrace danger and earn extra cash by pursuing litigation. A lawyer will be on site to take you case.

Virginia Wade Strawberries & Cream Day

Saturday 11 A tribute to a heroine of Ladies Wimbledon Lawn Tennis from the 70’s, cream provided.

Ball Boy Day

Sunday 12 Bring your boys to toss and collect balls all day long in that great championship tradition.

Julius Boros Memorial Chip and Putt Tournament

Monday 13 The classics never die. Commerate on of golfing’s greats in raw competitive fun.

Senior Saturday

Tuesday 14 Today’s Tuesday and we care.

No Hole Day

Wednesday 15 Holes closed for maintenance.

Really Real Network Day

Thursday 16 Get connected.

Be as real as you can be. Really normal things can create successful opportunities for you today.You’ll be surprised and delighted.

Love Means Nothing Day

Friday 17 Discuss…

Public Mowing Day

Saturday 18 Bring your mower, clippers, tractor or weed wacker and get down to business with us.

Lawn Party Extravaganza

Sunday 19 The finale of the Lilac Festival Events. Talk of the town. Everyone who’s anyone will be in attendance. Expect food and good cheer, (note: food and cheer not provided). A truly elegant affair, (note: please observe the closed container rule).

May Late Bloom Week Events

Teed Off Day

Monday 20 You will be if you turn up today. Tee-off with the masters and enjoy a round.

Second Service Day

Tuesday 21 We declare a do-over. Let’s do it again. It’s not your fault.

Merge & Acquired Day

Wednesday 22 Firm up your deals and consolidate your affairs. Hostile takeovers encouraged. Free Wall St. Journal to the first suit on site.

Passive Aggressive Day

Thursday 23 We love you.

We hate you. We want you. We don’t want you. Let’s be ambivalent together, but passionately.

Love Still Means Nothing Day

Friday 24 Now that we’ve discussed it once let’s change.

Threesome Day

Saturday 25 Three’s the magic number.

Deuce Day

Sunday 26 It’s all up for grabs, it’s anybody’s game now.

Doubles Day

Monday 27 Bring a good book and a friend.

Deal Day

Tuesday 28 Make an offer. Everything must go, maybe.

Umpirical Day

Wednesday 29 Be loud and tall or high and try not to be too judgmental.

Field Day

Thursday 30 Come relive some of the most competitive moments of your childhood with novelty and true sports events.

Gallery Day

Friday 31 Join the crowd in the stand and observe.

June Events

Caddie Day

Saturday 1 Need some advice or just a good friend? Club selection, yardage, emotional support? A caddie will be at hand.

Lineperson Day

Sunday 2 If it’s not in, then it must be out. The ball was in, or was it? You decide.

Advancement Day

Monday 3 Propel yourself to a higher position. We all want to get ahead.

Hole in One Day

Tuesday 4 From the top of the hill into either hole. You win.

Sports are Healthy Day

Wednesday 5 Yes they are! Come on America and enjoy! Get fit too. Aerobics encouraged.

Swing Out Day

Thursday 6 Enjoy the sounds of yester-year. Big bands are back. Harry Jr. may show.

Power Day

Friday 7 Exert your influence. Lead, follow or get out of the way.

Pea Pea Day

Saturday 8 The first crop should be ready, weather permitting.

Pimms Day

Sunday 9 If the boys in New Orleans come through it’s liquid cucumber all day long.

Otherwise cucumber sandwiches available.

Insider/Outsider Trading Day

Monday 10 Relish the thrill of that illegal moment. But don’t get caught. We’ll cover.

Back Swing Day

Tuesday 11 Practice, Practice, Practice. It’s fundamental. So do it!

Strategic Planning Day

Wednesday 12 Don’t leave anything to chance, at least for today.

Proactive Negativity Day

Thursday 13 Why wait for things to go wrong. Now’s the chance to make things gloomy and doomey.

Love Really Means Nothing Day

Friday 14 Haven’t we done this already.

Adultery Day

Saturday 15 Happens more than you think. Let’s deal with it.

Double Bogey Day

Sunday 16 So what if you’re a loser. Maybe you’ll make it up on the next hole.

Brokering Day

Monday 17 For a small fee and on your behalf, we’ll do your dirty work, (we will not do dishes or curry).

Institutional Day

Tuesday 18 Bureaucrats! Administrators! Paper Pushers! All welcome for a special power luncheon on site, (food not provided).

Big Chair Day

Wednesday 19 If you can find one, you can sit on it.

Olympic Analogy Day

Thursday 20 Go for gold! Share those special Olympiad moments with us.

Don’t Come Day

Friday 21 If you do you’re a fool because we won’t be here.

Interpassive Day

Saturday 22 Beyond interactive. The true state of the art. Not available on-line. Be there.

Social Space Day

Sunday 23 We’ve provided the space. You provide the social.

Living Life Lightly Day

Monday 24 For Cindy. Because she knows how to live.

Horticultural Lad Day

Tuesday 25 If you’re a Horticultural Lad, and you know it, come to the park at the appropriate hour.

We’re Over Ryder Day

Wednesday 26 Yes we mean it. We mean it.

Tennis Instructor Day

Thursday 27 Homage to that special squeeze. Tennis instructors are good people. We like you all. So, come along.

Symbolic Analysis Day

Friday 28 Demonize or canonize. You decide.

Believing It All Day

Saturday 29 It’s finally time to accept whats been happening.

Downsize Day

Sunday 30 Party’s over. Get real. Get rationalized, thank you.

Artist’s Garden Project

Highland Park

Rochester, New York

May/June 1996

Presented by:

the Highland Park Conservancy

Co-sponsored by the Monroe County Parks Department

& the Lilac Festival Committee

Dedicated to Erik Hans Krause

artist/naturalist

1899-1990

“Each one has his own real thing; mine is the garden.”

Louisa Yeomans King

PROJECT DESCRIPTION

The Artist’s Garden Project explores the integration of art and nature in Rochester, N.Y., through a series of temporary garden installations. The competition is inspired by public passions of past, present and future: the area’s rich horticultural heritage, a regional renaissance in garden-making, and a new communal involvement in the preservation of Highland Park. The Highland Park Conservancy, in cooperation with the Monroe County Parks Department and the Lilac Festival Committee, seeks to encourage people to interact with Highland Park, a place created to express the unique spirit of Rochester.

The competition is about human interaction with nature over time. The 19th-century vision of plantsmen George Ellwanger and Patrick Barry was to present a showcase of plants hardy to this area, to celebrate with fellow Rochesterians and the world the possibilities of the soil, space and time. Landscape architect Frederick Law Olmsted refined this plan into an urban park, creating for the citizens of Rochester a green place of refuge within the city with distant views of its surroundings. Together, the three men responded to the human need for beauty. There have been changes to the park over time, but people still heed the call of the original designers. We come to Highland Park to acknowledge the beauty of its plants, spaces and views. Whether a solitary walk in the pinetum or a springtime celebration of the lilacs or a snowy afternoon in the tropical Conservatory, we keep coming back to love and to praise. We come to Highland Park to express our connection to the Place. The Artist’s Garden Project speaks to this connection. The four temporary installations–three jury selections and one special display–will be spaces where people can revisit familiar notions of the park and learn new ways of seeing it. Staged in the newer Highland Park South, the gardens will create links between old park and new, past and present. Each garden will illustrate the artist’s interpretation of the park as Place. Visitors will encounter the gardens on their way to and from the Lilac Festival, and will see them from the Vietnam Veterans Memorial and the AIDS Remembrance Garden. Each garden will invite visitors in to experience the artist’s vision.

COORDINATORS

Stuart D. MacKenzie, ASLA

Cindy Mindell-Wong, MLA

SUPPORTERS

Arena’s Florist Inc.

Pattie Beckmann

Big Bear Enterprises

Chase-Pitkin Home and Garden

Winnifred and Angelo Chiarella

Congdon and Weller Nursery,

North Collins, N.Y.

Cornell Cooperative Extension

Kristin Davies

The Estate Gardener, Megan MacKenzie

Jean Garrett

The Jolt Co. Inc. and C.J. Rapp

Keenan’s Edgewood Nursery, Jeff Hathorn

Colin Kennedy

Kinko’s Copies, East Avenue

LaFave Party Rental Inc.

Lilac Festival Committee

Lucas Greenhouses

Suzanna Lyons and the Genesee Finger Lakes

Nursery & Landscape Association

Monroe County Parks Department:

Bob Hoepfl, Mark Quinn and Tim Sturm

Marci Muller and Marstan Landscaping

Northern Nurseries of New York

Parkleigh

Bob Peterson

Rochester Civic Garden Center

City of Rochester Department of Parks,

Recreation and Human Services:

Alan Colletta and Jim Farr

Christine Schilling

Tennis Club of Rochester

Oakhill Country Club

Nancy Turner

Van Putte Gardens

Wayside Garden Center

Wegmans Food Markets Inc.

JURY

Cat Ashworth

Ann Chaintreuil, AIA

L. William Chapin II, FAIA

Terrence J. Gleason, ASLA

Richard Margolis

Vincent Massaro

Sperantza Sobol, ASID

HIGHLAND PARK

Highland Park is the oldest park in Rochester and the first public arboretum in the country. Established in 1888 on 20 acres donated by nurserymen George Ellwanger and Patrick Barry, Highland Park today is both a beautiful landscape and a living museum of trees and shrubs.

Highland Park was designed by Frederick Law Olmsted, America’s foremost landscape architect, and the creator of New York City’s Central Park. In Highland Park, Olmsted blended deciduous groves, rolling meadows, a pinetum and a shrub arboretum. He crowned the park with an open pavilion, donated by Ellwanger and dedicated to the children of Rochester. From atop the hill neighboring the reservoir, the Children’s Pavilion offered panoramic views of the park and the growing city.

A number of notable locals worked to fulfill Olmsted’s vision of a world-class horticultural preserve. Superintendent Calvin Laney sought out specimens of all the trees and shrubs of Western New York, and horticulturist John Dunbar assembled more than 100 varieties of evergreens for the pinetum. More recently, horticulturists Bernard Slavin and Richard Fennicchia have continued to expand and enrich the park’s varied plant collections, searching out rare and unusual species and watching over their care and cultivation. Today, Highland Park is known best for the unusual and hardy lilacs that blossom each spring. But it is so much more than that. The Highland Park Conservancy is dedicated to maintaining the park’s extraordinary plant collections and continuing the vision that took shape more than a century ago.

HIGHLAND PARK SOUTH

Highland Park South was developed as an expansion to the park in the early 1980s as a staging area for the Lilac Festival, and to provide relief to the historic portion of the park from the heavy festival crowds.

Site work began in July 1984. A bulldozer operator uncovered six human skeletons; shortly thereafter, rainstorms washed to the surface six more. At first the remains were thought to be from the family cemetery of Erastus Stanley, the landowner who had sold the site to the county in 1826. But archaeologists discovered many more skeletons, and 19th-century plat maps and town records revealed that the land had housed the Monroe County Almshouse, Insane Asylum and Penitentiary. A self-sufficient operation, the institutional campus had included a burial ground for its inmates.

The excavation, led by the Rochester Museum & Science Center, discovered 305 graves, some of them multiple burials; 296 skeletons were reinterred in nearby Mount Hope Cemetery. Other remains, too fragile or too deep, were left undisturbed, as was the rest of the burial ground. Park designers rerouted paths to skirt the cemetery, and the county placed a boulder-marker in the center of the site to commemorate the lives of those buried there.

Two new community memorials now sit adjacent to the burial ground, built on land donated by the county:

The Vietnam Veterans Memorial of Greater Rochester: Ten years in the making, the memorial was conceived in 1986 as a place of healing, education and remembrance. The land was acquired in 1990 and groundbreaking took place in 1991. Built on two acres by Vietnam veterans and other volunteers, the memorial pays tribute to nearly 300 local men killed or missing in action. It will be dedicated in September 1996. The AIDS Remembrance Garden: This memorial was conceived by community groups in 1990 as a serene place of hope, healing and public awareness. Dedicated in 1993, the two-acre site is a memorial arboretum, a collection of plants “chosen for sentimental, nostalgic, courageous and reconciliatory reasons.” A parallel memorial, the Book of Life, holds the first names of all in the area who have died of AIDS.

Behind and Ahead,
SPAS Photo Gallery, RIT, Rochester,
New York, USA. 1994

Egon and Ireland,
Gallery of Photography, Essex Street,
Dublin. 1993

An evidential project of photographs and works on paper that recount a fictional relationship between the Austrian artist Egon Schiele and Ireland, specifically his search for Sheela-na-Gigs, as an example of primitive masturbatory expression which in turn inspire his most notorious works.

Several large mural prints that used early 20th century tourist photographs of Ireland, found in the George Lucas Film Research Library in California. Composite landscaped provided a backdrop for the visits of Egon Schiele to Ireland where is seen looking at Sheela-na-Gigs sculptures, purchasing them at a market, and mimicking their postures in the National Museum (where they were actually not put on display until the late 20th century).

A wall piece of bagged book pages and small portraits reads as a gushing hyper history of the artist. Clement Greenberg’s book Art and Culture (1961) provided the raw material, with major revisions to the Art in Paris section (lots of additional illustrations). The text “found and replaced” the names and heads of other artists with Egon Schiele. This revised mono-modernism presents the onanistic outsider as cannon.

Installations were based around the entrance foyers for large museum retrospectives, with blow-ups of family photographs, the odd reproduced relic and similar non-engaging artefacts. As a precursor to a show that doesn’t exist, and a history that never happened, the project investigated the roots of modernism in the primitive but through the debate on difference and multi-culturalism that raged in the early 90s. It was also a way of understanding the position of the artist abroad, engaging with another culture, vapidly following the trends of the day and hopefully beginning to make some good art.

The project became my MFA thesis “Behind and ahead: The Formally undocumented travels of Egon Schiele to Ireland 1905-1918” and the text from this can be accessed from The Wallace Library, RIT Scholar Works pages here (warning it is 183 pages).