Irish Arts Review, Autumn 2008
Dara McGrath’s stark images documenting the demolition of the Maze Prison in Belfast, captures fragmentary moments of erasure, writes Marianne O’Kane Boal
Diana Copperwhite’s forthcoming exhibition at the West Cork Arts Centre showcases a new ambition in scale, writes Alannah Hopkin
Jane Humphries previews ‘Luan tSleibhe’ a new suite of still-life painting from Geraldine O’Neill at Draiocht this autumn
Andrew Folan uncovers specific traces of sculptural strength in a new series of prints from Gerard Cox at the Graphic Studio Gallery this November
‘In reality the spotlight on any “ism” depends on the zeitgeist’, Alice Maher tells Brian McAvera, in response to questions of feminist or political overtones in her work
Emily Mark Fitzgerald explores William McKeown’s luminous paintings and their engagement with light, space and the present moment
The Royal Ulster Academy has not kept pace with currents in contemporary art practice, but this year there are signs of change, argues Brian McAvara
Marianne O’Kane Boal surveys the public sculpture enlivening the Laganside in Belfast, with work that is both thematically resonant and aspirational in tone
Breon O’Casey has long been admired as a weaver and jeweller, but recently his painting and sculpture have taken precedence with renewed vigour and scale, writes Brian Fallon
Isobel Harbison investigates method and practice in the work of Sean Lynch, winner of the inaugural Gallery of Photography–Irish Arts Review Photography award
Nicola Gordon Bowe examines a rare collection of Harry Clarke’s first published illustrations for Hans Christian Andersen’s Fairy Tales
Denise Ferran heralds the opening of a gallery and reconstruction of F E McWilliam’s London Master studio in his hometown of Banbridge, Co Down
John Turpin previews a major exhibition featuring over two hundred works by Daniel Maclise, Cork’s most admired artist of the 19th century, organised by the Crawford Gallery of Art
Paul Caffrey gives an account of Hugh Douglas Hamilton, Ireland’s leading portrait painter, and the subject of a forthcoming exhibition at the National Gallery of Ireland in this, the bicentenary year of the artist’s death
Philip McEvansoneya looks at two versions of George Petrie’s The Last Circuit of the Pilgrims at Clonmacnoise, the first of which was commissioned for Sophia Haldimand in 1828
The Meter House in Belfast is an exemplar of what is possible when built heritage is treated as a primary asset for regeneration, writes Paul Harron
Andrzej and Danuta Wejchert’s architectural ideas arise more from the nature of the project than any doctrinaire theory, writes Cathal O’Neill
Shan McAnena recalls the glittering careers of two Ulstermen whose paths converged thousands of miles from their birthplace
Audrey Whitty introduces work by six artists chosen to represent Ireland at European Glass Context 2008
