Seán Kissane traces the emergence of a modern language of art in Ireland as exemplified by Albert Gleizes and his Irish students and his contemporary André Lhote, currently on view at IMMA
A new installation by Cleary & Connolly conjures with the fact that William Chambers, architect of the Casino in Dublin, never actually visited the site, writes Michaele Cutaya
Brian Bourke recalls old conflicts together with themes of resilience in his discrete series of works at the Taylor Galleries, Dublin this spring, writes Catherine Marshall
Richard Livingstone’s intensely charged imagery acknowledges death’s irrefutable, writes Claire Dalton of the artist’s retrospective at the Gordon Gallery, Derry
Gerry Walker poses the question, should we expect to learn more about the material world from Mark Francis’ work or simply enjoy the painting?
Vivienne Roche belongs to a generation who transformed what sculpture could be. ‘I don’t consider myself an object-maker. I work with place and change’, she tells Brian McAvera while her exhibition continues at the Royal Hibernian Academy
Michael Cullen recounts how Berlin’s non-stop pace and intense cultural milieu drew Lorean O’Byrne to the cosmopolitan city in the 1980s
Patrick Pye’s innovation as a modernist lies in his revitalization of religious art, writes Stephen McKenna in his assessment of Brian McAvera’s new book on the artist
As Derry-Londonderry celebrates its year as UK City of Culture, Declan McGonagle recalls 1987, when extreme reaction to Sculpture for Derry Walls demonstrated Antony Gormley and his curator that meaning is created by context.
Eleanor Flegg looks at key pieces by Zelouf+Bell that advance contemporary design while referencing past masters.
Peater Pearson visits Waterford’s Medieval Museum which completes the trilogy of cultural venues celebrating the historic city’s material culture
Christiaan Corlett looks at a valuable, but little-known portfolio of photographs taken by Victorian doctor Ephraim MacDowel Cosgrave, now in the collection of the Royal Society of Antiquaries of Ireland
Was Daniel Maclise a proto-Nationalist painter? Peter Murray thinks not, in his assessment of the National Gallery’s recently restored masterpiece.
Nicola Gordon Bowe recalls how Harry Clarke’s homage to Ireland’s most celebrated writers fell foul of censorship in the early days of the Irish Free State
Terence Reeves-Smyth savours the vistas and scents of Mount Stewart gardens in County Down
Robert O’Byrne documents the events leading up to the destruction and consequent resurrection of Cappoquin House in Co Waterford
Sean Rainbird selects Flanders Fields by William Crozier, a new acquisition for the National Galllery of Ireland
