Beth Ganz
'Craugh Phadrig, Ireland' — from the series 'Axis Mundi', Contemporary
2020

$1,400List Price

About the Item

Beth Ganz, 'Craugh Phadrig, Ireland', copperplate photogravure etching, edition 10, 2020. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Cruach Phadraig in Irish, known as Croagh Patrick and locally as The Reek, is an important mountain site of pilgrimage in County Mayo, Ireland. The mountain, with a height of 764 m (2,507 ft), has a pyramid-shaped quartzite peak and overlooks Clew Bay, rising above the village of Murrisk, several miles from Westport. Long seen as a holy mountain, it was the focus of a prehistoric ritual landscape, and later became associated with Saint Patrick, who is said to have spent forty days fasting on the summit. There has been a church on the summit since the 5th century; the current church dates to the early 20th century. Croagh Patrick is climbed by thousands of pilgrims every year on Reek Sunday, the last Sunday in July, a custom that goes back to at least the Middle Ages. Archaeologist Christiaan Corlett writes that the large number of prehistoric monuments surrounding and oriented towards Croagh Patrick "suggests that the mountain has been a local spiritual inspiration since at least the Neolithic, and during the Bronze Age became the focus of an extensive ritual landscape". A short distance east of the mountain lies the Boheh Stone, an outcrop covered with ancient rock art. There are more than 260 carvings, making it one of the most detailed pieces of ancient rock art in Ireland, and one of only two in the province of Connacht. In 1987 it was rediscovered that, from the Boheh stone, the setting sun appears to roll down the slope of Croagh Patrick in late April and late August. It is believed the stone was chosen because of this natural phenomenon. A stone row at Killadangan is aligned with a niche in the mountain where the sun sets on the winter solstice. Archaeological surveying found remains of an enclosure encircling the mountaintop and dozens of circular huts abutting it, which showed evidence of Bronze Age date. Tírechán, a native of Connacht, wrote in the 7th century that Saint Patrick spent forty days on the mountain, like Moses on Mount Sinai. The 9th-century Bethu Phátraic says that Patrick was harassed by a flock of black demonic birds while on the peak, and he banished them into the hollow of Lugnademon ("hollow of the demons") by ringing his bell. Patrick ended his fast when God gave him the right to judge all the Irish at the Last Judgement, and agreed to spare the land from the final desolation. A later legend tells how Patrick was tormented by a demonic female serpent named Corra or Caorthannach. Patrick is said to have banished the serpent into Lough Na Corra below the mountain, or into a hollow from which the lake burst forth. Archaeologists found that there had been a stone chapel or oratory on the summit since the 5th century. A small modern chapel was built on the summit and dedicated on 20 July 1905. On the last Sunday in July, thousands of pilgrims climb Croagh Patrick in honor of Saint Patrick, and masses are held at the summit chapel. Some pilgrims climb the mountain barefoot, as an act of penance. Traditionally, pilgrims would perform 'rounding rituals', in which they pray while walking sunward around features on the mountain. Among these are a group of three ancient cairns known as Reilig Mhuire (Mary's graveyard), which are likely Bronze Age burial cairns. A seam of gold was discovered in the core of the mountain in the 1980s. Due to local resistance by the Mayo Environmental Group, headed by Paddy Hopkins, Mayo County Council decided not to allow mining on Croagh Patrick. The name of the Owenwee River (Abhainn Bhuí, yellow river) on the south of the mountain may indicate an ancient awareness of gold deposits in the area and gold panning in the river. ABOUT THE SERIES 'AXIS MUNDI' "This body of work focuses on satellite images of sacred mountains around the world—places where heaven and earth are thought to meet. The phenomenon of revering mountains as holy sites is an archetype found in many cultures. "This shared experience finds a visual echo in the ubiquity of images of the earth that are now available to any person with a computer and an Internet connection. What does the specificity of place mean when we can move across the surface of the earth in seconds and reduce everything to a series of pixels? To me, this process recalls abstract painting, which transforms the specific into gesture and form. Rather than treat digital technology as necessarily destructive to human meaning and experience, my work offers new ways of seeing that are reconcilable with the old. To this end, I combine 19th Century Photogravure technique with 21st Century surveillance captures. "Axis Mundi consists of 64 copperplate photogravures. The work is laid out in a grid, which is an arbitrary conversion of the visual world into a flat space that happens both on the picture plane and in the data processing. The title refers to the belief in a 'world center,' often conceived of as a mountain: a place where communication between higher and lower realms is possible. This project is a search for such a center in a world of decentralization and fragmentation." —Beth Ganz ABOUT THE ARTIST Beth Ganz is a contemporary American multidisciplinary visual artist, who lives and works in New York City. She graduated from Pratt Institute with a BFA (honors) in Painting, Sculpture, and Printmaking. The focus of her work is the intersection of landscape, digital technology, and abstraction. Ganz works in paint, brush, and ink drawing, both independently and alongside digital and analog printing techniques, including photogravure and intaglio printing. Ganz’s work has been the subject of many solo exhibitions, including 'Atlas Project' at Cynthia-Reeves Gallery, 'Up Close and Far Away, Grids and Toiles: Beth Ganz at Wave Hill House,' Wave Hill, and 'Geothermal Topographies' at Reeves Contemporary. She has been shown in numerous group exhibitions, and her work is represented in many public and private collections, including the 9-11 Memorial Museum, the Library of Congress, the New York Historical Society, and the New York Public Library Prints Collection. Ganz teaches workshops in photogravure and intaglio at Manhattan Graphics Center and has been a long-time grantee of the Elizabeth Foundation for the Arts. AWARDS AND RESIDENCIES 2018 – Signal: Tri-State Juried Exhibition (2nd Place), Katonah Museum of Art, Katonah, New York (Juror: Lumi Tan) 2001-2014 – Studio Program, Elizabeth Foundation for the Arts, New York, NY 2005 – Johnson & Johnson Purchase Prize, 48th Annual National Print Exhibition, Hunterdon Museum of Art, Clinton, NJ 1999 – Prints USA Juror’s Award, Springfield Art Museum, Springfield, MO 1993 – 37th Annual National Print Exhibition (Honorable Mention), Hunterdon Art Center, Clinton, NJ 1992 – Small Impressions 1992 (Juror’s Award), Printmaking Council of New Jersey, NJ BIBLIOGRAPHY: MAGAZINES, JOURNALS, NEWSPAPERS, AND ONLINE MEDIA 2018 – Mary Legrand, “A Signal of Invention,” Bedford Record, July 2018 2017 – Sara Mintz, “Profile of an Artist: Beth Ganz,” Journal of the Print World, Vol. 40, #4, October 2017 2017 – Cate McQuaid, “Critics’ Picks, The Ticket: Music, Theater, Dance, Art and more,” Boston Globe, May 2017 4, 2017 2017 – Beth Ganz, “New Prints: Beth Ganz and the Atlas Project Landscape,” Journal of the Print World, I Vol. 40, #3, July 2017 Collections: Duke Energy, Charlotte, NC; Evelyn Lauder Breast Center at SKMCC, New York, NY; Frost Bank, Houston, Texas; Hofstra Museum, Hofstra University; Johnson and Johnson Corporate Collection, NJ; Library of Congress, Washington, DC; New York Historical Society; New York Public Library Prints Collection; Norwegian Cruise Lines Corporation (Commission for the BLISS Cruise Ship); NYU Langone Health, New York, NY; Permanent Collection of the US Consulate, Cape Town, South Africa; Squib Corporation Collection, NJ; 9-11 Memorial Museum, New York, NY; Tommy Hilfiger Corporate Collection, New York, NY; United States Embassy Permanent Collection, Tbilisi, Georgia; Universal Studios, Los Angeles, CA; US Department of State, Art Bank Program, Washington, DC.

Creator:
Beth Ganz
Creation Year:
2020
Dimensions:
Height: 10.5 in (26.67 cm)Width: 10.5 in (26.67 cm)
Medium:
Etching,Photogravure
Movement & Style:
Contemporary
Period:
21st Century
Condition:
Gallery Location:
Myrtle Beach, SC
Reference Number:
Seller: 1041341stDibs: LU532311372062