The Society partners with and is supported by:
With the exception of the Public and Commemorative Talks all Talks are given on the second Saturday of the relevant month at Nano Nagle Place
Douglas Street, T12 X70A, Cork
Each Talk at Nano Nagle Place begins at 11:30 a.m.
Volunteering in Partnership: Discovering the Goldie Chapel
Each Heritage Week member volunteers from CorkDFAS partner with Nano Nagle Place in holding a research quest for young people aged 8-12 years called Discovering the Goldie Chapel. The children are accompanied by a parent/guardian. The children were guided to look at the stained glass windows and discover the stories behind the artworks. Spaces are limited to 12 children on each day. The volunteers are Garda vetted. A great time is had by the children, their parents/carers and the volunteers, as the photos on the Conservation and Volunteering Page show.
The first partnership venture between CorkDFAS and Nano Nagle Place was the
Nicola Gordon Bowe (1948-2018) Commemorative Talk, a free public talk
in association with Nano Nagle Place, at Nano Nagle Place
Saturday, 19th October 2019 Dr Róisín Kennedy *
“Harry Clarke’s Geneva Window. Censorship and Art in Ireland”
The lecture looked at the history of one of Clarke’s last and most celebrated works which was made for the International Labour Organisation in Geneva in 1929. When it was shown to members of the Irish government, they considered it to be highly unsuitable. Its representations of the female nude along with other details were regarded as inappropriate in a work intended to represent the Irish state. The Window remained in Dublin for the next fifty years and is now in a museum in Miami. The lecture examines the commissioning and production of the work and sets it within the wider contexts of the new state and the other international artworks commissioned for the International Labour Organisation. Completed in the same year as the Censorship of Publications Act, the lecture considers how visual art can be as profoundly affected by censorship as books. The work was completed in the same year as the Censorship of Publications Act, and the lecture considers how visual art can be as profoundly affected by censorship as books.
with generous assistance from Morgan O’Driscoll Fine Art Auctioneer