Irish Arts Review, Autumn 2006
Nick Miller’s forthcoming exhibition at the Rubicon Gallery considers the dynamics of our contemporary society, writes Regina Gleeson
John Kindness, the subject of a retrospective this autumn writes Marianne O’Kane
Tim Hawkesworth has attained a fluency and surety in his painting that marks him as one of the most important painters of his generation, argues Patrick T Murphy
Although Sarah Walker’s painting can be appreciated in formalist terms alone, her painting exudes a strength derived from a unique sense of place, writes Ciarán Bennett
Robert Ballagh has long been recognised for his political engagement; Brian McAvera asks him to enlarge on the artist’s position in
society ahead of his retrospective at the RHA in September
Mic Moroney previews Michael Craig-Martin, an artist whose career has kept pace with one of the most challenging periods in art history, ahead of his retrospective at IMMA
From its ancient monuments and historic estates to the artists drawn to its dramatic Atlantic landscape, Kerry has a rich and enduring artistic heritage, writes John O’Donoghue, TD — Minister for Arts, Sport and Tourism
Humour, sensuousness and a wild imagination characterise Pauline Bewick’s best work, writes Alannah Hopkin
Catherine Marshall looks at the evolving artistic expression of Maria Simonds-Gooding and her recent experimentation with tapestry design
John Turpin assesses a selection of sculpture by Jerome Connor, best known in Ireland for his poignantly evocative Lusitania Peace Memorial in Cobh
Victorians seeking escape from an increasingly industrialised Britain sought tranquillity and adventure in Killarney’s poetic landscape; Donal Horgan looks at the role photography played in stimulating this interest
Ruán O’Donnell explores the creation of a public persona through the varied depictions of Ireland’s most recognisable political leader
Damián McManus explains the purpose of Ogam stones, Ireland’s oldest mode of written communication
PeterHarbison marshals the known facts on Staigue Fort, Kerry’s mysterious stone amphitheatre
Nigel Everett traces the influence of successive owners on the evolution and beauty of Derreen Gardens, County Kerry
Desmond Fitzgerald revisits a fine 18th-century mansion known to him in his youth and elaborates on its remarkable preservation of original detail and content
Peter Murray discusses the contents of Woodhill, the luxurious home of Cooper Penrose, a Quaker with patrician tastes
Michael Dempsey previews Hughie O’Donoghue’s interpretation of the liturgy at the Bon Secours Chapel, Galway and discovers an oasis for contemplation
Catherine Bates looks at the creative translation of ideas within the work of the talented McCrory family on view at the National Craft Gallery this October
Eleanor Flegg discusses the work of Robert Lee, chosen by a panel of experts on behalf of the Crafts Council of Ireland to acknowledge consistency in design excellence
