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Irish Arts Review, Autumn 2016, Vol. 33, Issue 3
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Featured in the Autumn 2016 edition:
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Driven by distraction Small in number but big in impact, Yvonne Scott views Diana Copperwhite’s new paintings at the RHA, Dublin. | |
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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. | |
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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. | |
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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. | |
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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. | |
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Sugar rush Brendan Jamison has given new expression to an old technique, pastillage; he tells Brian McAvera what attracted him to sugar. | |
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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. | |
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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. | |
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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. | |
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A life on canvas Martin Harrison’s catalogue raisonné allows one to make a new assessment of Francis Bacon’s oeuvre, Margarita Cappock discovers. | |
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TCD looks eastward James Howley assesses the architectural evolution of Dublin’s oldest campus as striking new landmarks emerge at TCD. | |
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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. | |
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Victorian Master Julian Campbell remembers the Irish origins of one of Victorian England’s most successful artists, George William Joy. | |
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On parade What was William Turner de Lond’s motivation in visiting Ireland in 1820? Mary Jane Boland investigates. | |
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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. | |
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Elysian fields Kevin V Mulligan traces the chequered history of the Irish National War Memorial Gardens at Islandbridge. |