James Elkins reflects on the ominous, yet somewhat dormant, content of Margaret Corcoran’s new series of paintings ahead of her exhibition at Claremorris in October
I have followed Margaret Corcoran’s work for twenty years or so. It is always interesting, because it is always in process: she has not gotten comfortable with any set of themes or styles. She has painted several major series on art historical themes, but her work remains unpredictable.
(I don’t think it matters that the work is often figurative and realist: those style qualifications don’t impinge on the paintings’ own concerns.)
To the Irish in America, the irony of using funds from a Fenian club to buy a set of Malton views depicting Georgian Dublin was not apparent, writes Christian Dupont
Linda Brunker’s female avatars affirm nature and spirit. Mark Ewart talks to the Irish sculptor as she departs California for France
The magic realism of Sweeney’s transformation from man to bird continues Gabhann Dunne’s association with the natural world, writes Susan Campbell