Irish Arts Review, Autumn 2009
James Hanley observes Comhghall Casey as he prepares for a solo exhibition in Dublin this autumn hosted by Solomon Fine Art
Bridget Flannery’s brand of abstraction suggests an allegory for a way of living with the sparest of resources, writes Mary O’Donnell
Livia Hurley investigates Peter Monaghan’s uniquely tectonic installation at Number 1 Grand Parade, Dublin
Ann Curran detects a mood of ennui and repressed energy in the work of Eoin O Conaill, the winner of the Gallery of Photography and Irish Arts Review Artist Award
Brian McAvera previews new work from Brian Henderson at the Taylor Galleries in Dublin this autumn
Brian McAvera talks to Martin Gale about his approach to painting, his influences and his relationship with the Irish landscape
Ahead of his first gallery show in two decades, Maurice Harron talks to John Cunningham about the war of cultural imperialism within the art world
Barbara Dawson promises exciting new discoveries about Francis Bacon’s technique when his centenary exhibition opens this autumn at Dublin City Gallery The Hugh Lane.
Catherine Marshall describes the elusive process of creating an intimate portrait, exemplified in John Minihan’s series on Francis Bacon
‘Contrary to common assumption, painters in the Islamic world frequently portrayed the Prophet Muhammad’, writes Serpil Bagci in this assessment of a number of Ottoman treasures from the Chester Beatty Library
Peter Harbison discusses the little-known art collection of the Royal Irish Academy, which documents a number of its eminent members
Janette Stokes explores the Stokes family connection with FW Burton’s The Meeting on the Turret Stairs from its inspiration to bequest
Farmleigh, Edward Cecil Guinness’ retreat in the Phoenix Park, is host to an exhibition of artworks that illustrates his patronage and devotion to the city of his birth, writes Mary Heffernan
Kevin V Mulligan assesses the architectural vision of Richard Castle together with the contributions of his successors at Westport House
John Mulcahy reviews the vicissitudes of fate and fortune through the generations of the Browne family at Westport House, County Mayo
Jason M O’Shaughnessy assesses VISUAL in Carlow, an ambitious project showcasing Ireland’s largest gallery
Ahead of his solo exhibition this autumn at Queen’s University in Belfast, Joseph McBrinn previews textile artist Michael Brennand-Wood’s radical reinterpretation of embroidery
