The Drummer By Barry Flanagan

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Barry Flanagan's The Drummer—The Hare with a History

I wanted to share a photo I took of a truly magnificent piece of public art that carries some surprising historical baggage: Barry Flanagan's colossal bronze hare, "The Drummer" (1996), installed on the grounds of the Irish Museum of Modern Art (IMMA) in Dublin.

Flanagan, a celebrated Welsh sculptor who later took Irish citizenship, created this magnificent 15-foot bronze. Captured mid-leap as it enthusiastically beats a drum, the sculpture is full of dynamic energy and playful anthropomorphism—a perfect blend of classical casting and modern irreverence.

However, its placement has been the subject of considerable discussion regarding national identity and public art in Ireland.

A Hare That Couldn't Find a Home

What many visitors don't realise is that this wasn't always the intended location. The sculpture was originally offered as a major gift to the nation, potentially for the highly prestigious setting of Áras an Uachtaráin (the President's official residence).

This offer was reportedly declined during President Mary McAleese’s tenure, primarily due to a curatorial preference to showcase only the work of Irish-born artists in that specific national space.

The IMMA Relocation Controversy

Following that refusal, the sculpture was generously donated to IMMA in 2001. It was initially placed in a highly visible spot right by the main entrance. But once again, its prominent display became contentious.

The sculpture was later relocated to its current, slightly more peripheral spot on the lawn. This move fueled the public narrative that its high visibility was being deliberately reduced because Flanagan was seen, at the time, as a non-Irish artist.

For me, these controversies make "The Drummer" even more compelling. It’s not just a beautiful sculpture; it's a silent monument to the enduring debate over what constitutes 'national art' and who gets to define it. Every time I photograph it, I’m reminded of the complexities behind public commissioning and curation.

A Surprising Postscript

On a personal note, I was quite surprised when Flanagan’s estate contacted me for permission to use some of my photographs of this very sculpture for their archive—a reminder of how seriously artists' estates manage the visual record of their work, even for public pieces!