Autumn 2016

Autumn 2016
Vol. 33, Issue 3

10.00

Autumn 2016 edition on sale Friday 2 September. Pre-order now!

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Featured in the Autumn 2016 edition:

Driven by distraction Small in number but big in impact, Yvonne Scott views Diana Copperwhite’s new paintings at the RHA, Dublin.
Subject or object? Brian McAvera reports as portraitist Colin Davidson turns his attention to the Nude in his exhibition at Oliver Sears Gallery, Dublin from September.
Essays on disharmony Siobhán Hapaska is one of the most important sculptors working today, argues Francis Halsall ahead of her Kerlin Gallery show in October.
Croí Nicola Gordon Bowe introduces artistic collaborators, Kathryna Cuschieri, Vivienne Bogan, Jane Seymour and Nicola Henley whose multidisciplinary exhibition at Origin Gallery, Dublin opens in September.
Maser on-message As Maser prepares for his Graphic Studio Gallery debut, his recent controversy with Dublin City Council reminds us he’s a street-writing man, writes Mic Moroney.
Sugar rush Brendan Jamison has given new expression to an old technique, pastillage; he tells Brian McAvera what attracted him to sugar.
Independent’s day Brian Fallon recalls the central role played by artist and arts activist Michael Kane ahead of his exhibition at Dublin City Gallery The Hugh Lane in October.
Legacy and promise Gerry Walker welcomes a resurgence in the pleasure of creating in his assessment of the fine art graduates to watch from the class of 2016.
Destiny’s child Paula Murphy considers the old ‘bugaboo’ of craft versus art as Killian Schürmann’s major glass project for UCD is nearing its installation.
A life on canvas Martin Harrison’s catalogue raisonné allows one to make a new assessment of Francis Bacon’s oeuvre, Margarita Cappock discovers.
TCD looks eastward James Howley assesses the architectural evolution of Dublin’s oldest campus as striking new landmarks emerge at TCD.
Tales of the city Brendan Walsh’s photographic focus in Dublin: The Heart of the City traces the fragmentation of the city’s working-class community through decades of neglect, writes Stephanie McBride.
Victorian Master Julian Campbell remembers the Irish origins of one of Victorian England’s most successful artists, George William Joy.
On parade What was William Turner de Lond’s motivation in visiting Ireland in 1820? Mary Jane Boland investigates.
Defender of the faith Jane Fenlon decodes the political iconography in John Michael Wright’s portrait of Sir Neil O’Neill in the costume of an Irish chieftain.
Elysian fields Kevin V Mulligan traces the chequered history of the Irish National War Memorial Gardens at Islandbridge.