Summer 2016
Vol. 33, Issue 2


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Featured in the Irish Arts Review, Summer 2016 edition:

Captured or caught? Donal Maguire­ analyses Molly Judd’s darkly compelling Murmuring Lights, the winner of this year’s Ireland-U.S. Council/Irish Arts Review Portraiture Award­.
Inner-visions George Warren tells Robert Armstrong that his approach to painting is akin to method acting ahead of his solo exhibition at Hillsboro Fine Art, Dublin in July.
Being there Joe Wilson’s paintings of the Beara Peninsula are characterized by his immediate experience of that romantic and elemental terrain, writes James O’Nolan of ‘Beara’ at the Catherine Hammond Gallery, Skibbereen, Co Cork.
The Edge Isabella Evangelisti welcomes new paintings by Una Sealy following a hiatus of almost four years that display a new contemplative tone in her portraits of family and friends, on view at the RHA, Dublin from July.
Into the wild Mark Ewart tracks plein air artist Neal Greig’s search for the awe-inspiring view ahead of his exhibition at the Claremorris Gallery, Co Mayo in August.
Two birds/one stone Do materials ultimately transform a work of art? Janet Mullarney explores this thesis in her curated sculptural show at Farmleigh Gallery, Dublin, discussed here by Carissa Farrell
Echoes and Reflections Riann Coulter considers the influences at play in the painterly work of Belfast artist David Crone in anticipation of his retrospective at the FE McWilliam Gallery, Banbridge, Co Down.
Neo-Palladian Brilliant colourist Richard Gorman marks his 70th year with a show at Castletown, Co Kildare where his abstracts provide a counterpoint to its classical interior, writes Jennifer Goff.
The medium is the message Belfast-based conceptual artist Colin Darke talks to Brian McAvera about his Marxist political philosophy and argues that the role of art is to generate critique.
The French new wave Gerry Walker welcomes the novel approach of French gallerist Olivier Cornet to Dublin’s contemporary art scene.
1916 Centenary: Mirror to an age Judith Hill examines the political currents in Robert Ballagh’s survey exhibition at the Hunt Museum, Limerick which continues until August.
1916 Centenary: Suspension of judgement Margarita Cappock reports on the multidisciplinary homage to Roger Casement in ‘Artist as Witness’ at Dublin City Gallery The Hugh Lane.
1916 Centenary: Not fade away Sarah Kelleher assesses the impressive content of a private collection commissioned to mark this tumultuous episode in Ireland’s history.
1916 Centenary: Witness and symbol Dublin’s GPO is a symbol of Irish identity that only the Hill of Tara can equal, writes James Howley following his visit to the new Witness History Centre.
The Galway shawl through the Clonbrock lens In recording the traditional attire of female estate workers, Augusta Caroline Dillon of Clonbrock House, Co Galway, seemed aware that her photographs would become historical document, writes Christiaan Corlett.
Between heaven and earth Bishop Berkeley’s cultivated taste in art was honed during his travels in Italy: but what became of his own collection asks Peter Murray
Seedling to bloom As the Royal Horticultural Society of Ireland prepares to meet the challenges of the present day, Robert S Myerscough recalls its foundation in 1816.

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