Autumn 2015
Vol. 32, Issue 3


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Featured in the Autumn 2015 Edition of the Irish Arts Review (Subscribe here):

The enigmatic Alfred Beit John Mulcahy visits the modest grave of Alfred Lane Beit in Blessington, County Wicklow and wonders at the circumstances that brought him to Ireland
Art’s new wave Gerry Walker introduces some formidable talents working across the spectrum of media, in our selection of this year’s brightest graduates as they navigate their future in the arts
Ensemble playing The design ethos of McCullough Mulvin treats existing buildings as complex, vital organisms, capable of change, writes Hugh Campbell
Searching for evidence Mic Moroney marvels at Seán Hillen’s photomontage where catastrophe elides into the mundane activities of everyday life
Meetings in the studio Nick Miller makes a connection with Edward McGuire, writes Christina Kennedy, by painting his sitters and his favourite prop – the white Barn owl– in an exhibition hosted by IMMA this winter
Icons and inscapes ‘I am becoming more conscious recently of the great tradition of landscape painting in my work,’ Ger Sweeney tells Mark Ewart as he prepares for an exhibition at the Hamilton Gallery, Sligo this winter
Diaspora Eoin MacLochlainn describes his series on abandoned houses in Donegal as a reflection on Irish emigration, writes Brian McAvera of his October show at the Olivier Cornet Gallery, Dublin
Information society Boolean logic provides the stimulus for a number of artists marking the bicentenary of George Boole at the Lewis Glucksman Gallery, UCC, writes Fiona Kearney
U-Turn Marysia Wieckiewicz-Carroll reports on a collaborative exhibition by Black Church
Print Studio Members that engages with the notion of progress currently on view
at the Library Project, Dublin
The art of synthesis In an interview with Brian McAvera, John Noel Smith recalls his formative years in Berlin ahead of two exhibitions this winter, at the RHA and the Hillsboro Gallery, Dublin
Picture this Robert Ballagh questions whether it is time for the local curatoriate to recognize the significance of original Irish talent like John Devlin
Ghost in the machine A recent showing at Bonhams Gallery, Dublin underscored Don Cronin’s commitment to the pure language of sculpture removed from narrative, writes Peter Murray
Up close and personal Eamonn Doyle’s cheek by jowl images of Dubliners shape our impression of the city, and become an essential part of our collective consciousness, writes Ros Kavanagh
Foreign service Peter Murray recalls the easy socializing between races in Colonial India, as captured by artists such as George Chinnery and Thomas Hickey before censorious measures from England brought it to a halt
Bantry’s French connection Nigel Everett traces the provenance of the French tapestries at Bantry House in Cork which at one time were assessed at twice the value of the house

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