Brendan Rooney visits Cian McLoughlin’s studio, as the Dublin born artist prepares for his first solo show in New York
Gerry Dukes follows the money as hubris and greed fall victim to Tom Fitzgerald’s pen, as seen in his exhibition of watercolours at Limerick City Gallery as part of City of Culture
Frances Ruane applauds the role played by Fergus Ahern in the development of his community’s Civic Art Collectio n as the RHA hosts an exhibition curated from its holdings
Catherine Marshall visits the studio of Hennessy Craig prize-winner Mollie Douthit as she prepares for a solo exhibition at the Royal Hibernian Academy in 2015
Marianne O’Kane Boal hopes a touring retrospective on the work of Brian Ballard will convey the full trajectory of his practice from figuration to abstraction
Stephanie McBride draws parallels between recent photography and new works on video by Anthony Haughey to be shown at Limerick City Gallery of Art
James Hanley is drawn into Cristina Bunello’s feminine environment where the gazed upon gazes back, at the Cross Gallery, Dublin
James Hanley previews new work from Claire Kerr at London’s Purdy Hicks Gallery that overturns the art world’s obsession with grand scale
Robert Ballagh recalls his first adventures in art with Micheal Farrell in advance of a retrospective at Solstice Arts Centre to honour the Meath-born artist
Sarah Whitfield explores the multifaceted role of the humble pan in William Scott’s practice, ahead of the retrospective at the Ulster Museum this autumn
Declan McGonagle argue for a radical shift in our thinking about the conception and installation of large-scale art exhibitions
Farrell explores the ways in which Susan Connolly, Judy Carroll-Deeley and Jennifer Trouton forge their own vision of oil on canvas at the Solstice in Navan
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?
Equivalence is not defined by the square inch, writes Catherine Marshall, of Ciaran Murphy’s pairing with Nigel Cooke at the Douglas Hyde Gallery this summer
Ann Quinn’s world is internalized, enclosed and informed mmmm by personal memories, writes Denise Ferran ahead of the artist’s solo exhibition at the Taylor Galleries
An exhibition at the F E McWilliam Gallery, Co Down featuring David Crone, Mark McGreevy and Dougal McKenzie amply demonstrates that painting in Ireland remains relevant, writes Riann Coulter.
Several Limerick-based artists were invited to respond to the National Self-Portrait Collection to mark the 40th anniversary of the University of Limerick; Helen Carey explores the outcome.
Pippa Little visits Alice Maher’s mid-career retrospective at IMMA which charts her focus on materials in metamorphoses
For all its light-hearted appearance, Patrick O’Reilly’s installation at Centre Culturel Irlandais harbours a serious undertone, writes Rosetta Beaugendre
In a new series of still lifes, Conor Walton puts the focus on the staples of life in opposition to the excesses of the Celtic Tiger, writes Jane Humpries
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
New work from David Eager Maher at the Cross Gallery in September, will bewitch, beguile and bewilder, writes Riann Coulter
Clement McAleer’s panoramic views delve into nature’s underlying structure, writes Liam Kelly ahead of his winter exhibition at the Hamilton Gallery, Sligo
Peter Somerville-Large recalls the largesse of Sir Alfred Chester Beatty as highlights from his bequest to the National Gallery of Ireland go on view at the Chester Beatty Library this autumn.
Marianne O’Kane Boal reports on the first cultural partnership between the Port of Cork and Belfast Harbour
Despite the obscurity of their lives, and the uneven nature of their work, John Butts and Nathaniel Grogan merit the attention the Crawford Art Gallery’s exhibition now gives them, writes Tom Dunne
Ian Cumberland’s portrait, the winner of the Ireland-US Council/Irish Arts Review Portraiture Award at the 182nd RHA Annual Exhibition, is not a ‘pretty’ picture, writes Jane Humphries.
Within a deliberately restricted theme, Mary Lohan offers a new confrontation with the sublime, writes Catherine Marshall ahead of the artist’s exhibition at the Hamilton Gallery, Sligo, in June.
Isabella Evengelisti previews Michael Cullen’s first exclusively Spanish-themed collection on view at Taylor Galleries, Dublin
Peter Murray examines the gestalt nature of Tim Robinson’s art, whose work is on view at Dublin City Gallery The Hugh Lane until January
Jenny Fitzgibbon looks at how spatial relationships from the macro to the micro are investigated in Isabel Nolan’s solo show at the Model, Sligo this winter
Rita Duffy’s exhibition of new work at the F E McWilliam Gallery & Studio is inspired by a three-month residency in Norway and combines the influence of Nordic myth and culture with familiar themes from the artist’s oeuvre, writes Riann Coulter
Isabella Evangelisti reports on Peter Pearson’s views of Dublin on exhibition at the James Joyce Centre in April, which capture his regard for the city in all its aspects.
Form and colour in Sam Walsh’s new series of paintings at Visual in Carlow, tantalise but ultimately remain evocative, writes Catherine Marshall
Catherine Leen discusses the work of four artists, each with a very personal aesthetic, who engage with the concept of beauty, ahead of their group show at the Cross Gallery, Dublin
A new body of work from Jennifer Trouton at the Molesworth Gallery, Dublin this winter, illustrates her continuing repre
Mic Moroney investigates the most anticipated and controversial art event staged in Ireland since Ro
Robert Ballagh discusses some key works relating to Ireland from Richard Hamilton and Rita Donagh ahead of their retrospective at Dublin City Gallery the Hugh Lane this autumn
Caroline McCarthy invites us to look at the world afresh, transforming the banal and the abject into artworks. Sue Hubbard discovers, ahead of the artist’s exhibition at Green on Red Gallery this summer.
Alannah Hopkin previews new work from Katherine Boucher Beug’s forthcoming show in June at Oliver Sears’ Gallery, Dublin
Sheila Rennick’s new paintings acknowledge the darker themes of contemporary life, Donal Maguire discovers, ahead of her solo show at Hillsboro Fine Art, Dublin
Nigel Monaghan admires the work of artist and conservationist Patrick O’Hara whose exhibition at the Boole Library, UCC marks 40 years of botanical exploration
Retrospectives seek to ask and answer specific questions, writes Gerry Walker, in his preview of Barrie Cooke’s exhibition at IMMA this summer.
In his livre d’artiste, a selection from which are on display at the Chester Beatty Library, Matisse sought to create a graphic equivalent to the facing page, writes Emily Mark-FitzGerald
This summer, twenty years after his survey of Irish Modernism, S B Kennedy takes a fresh look at the movement through the artworks on view at the AVA Gallery, Bangor, Co Down
Sarah Downey looks at constancy and evolution in Chris Wilson’s art practice, ahead of his retrospective in April at Strule Arts Centre, Omagh
Jenny Fitzgibbon previews work from John Boyd’s forthcoming exhibition at the Cross Gallery, Dublin and assesses his explorations into the nature of perception.
‘The Surreal in Irish Art’ opening at the F E McWilliam Gallery & Studio, Banbridge, Co Down, in May is the first exhibition to explore the influence of Surrealism on Irish art, writes Riann Coulter
Gabriel Metsu, who died in 1667 at the young age of 37, has had his status re-evaluated a number of times in the intervening centuries; Adriaan Waiboer provides an expert insight into the subject of the National Gallery of Ireland’s tribute exhibition.
As students at the RHA School will shortly access 21st-century teaching aids, their Professor of Anatomy Clive Lee looks at the changing nature of knowledge translation between artists and anatomists.
The insubstantial, shadowy terrain of memory is evoked in Elizabeth Magill’s new suite of paintings, on show at the Kerlin Gallery until December, writes Sue Hubbard.
Philip McEvansoneya reflects on John Lavery’s portrayal of his constant model, his wife, Hazel Martyn, ahead of Dublin City Gallery The Hugh Lane’s exhibition ‘Lavery: Passion and Politics’.
A new series of paintings from Paddy McCann at the Dock, Co Leitrim are intense meditations on loss and the passage of time, writes Amanda Croft.
Nicola Gordon Bowe introduces the work of Patrick Conyngham whose latest series of paintings is currently on view at Gilford Castle, Co Down.
Siobhán Hapaska’s provocative and witty sculpture installations question notions of certainty, writes Liam Kelly ahead of her exhibition at Ormeau Baths Gallery, Belfast.
The second stream in the Futures series offers a new generation of emerging artists the opportunity to exploit the galleries of the RHA, writes Ruth Carroll.
Old, familiar controversies and arguments are likely to be reopened on foot of IMMA’s epochal end-of-year exhibition, writes Brian Fallon.
Martin Finnin’s intuitive approach to colour and composition is at its most confident in new work at the John Martin Gallery, London, writes Mark Ewart
Shane McCausland explores the rich narrative themes of Ming-Qing era art from the Shanghai Museum on view at the Chester Beatty Library
A new book and exhibition on the multi-talented Mrs Delany prompts Nicola Gordon Bowe to call for a reassessment of the contribution made by women to Georgian cultural life
Cleary & Connolly’s award-winning project, on view at the Hunt Museum, Limerick, invites the viewer to step into, around and behind the painted space, writes Sarah Finlay.
Tony O’Malley’s constructions possess an individualism that defies categorisation, writes Angela Griffith ahead of the Butler Gallery’s exhibition in August.
Chris Clarke investigates the critical stance adopted by Stephen Ahern, winner of the Gallery of Photography and Irish Arts Review Artist’s Award
Jackie Nickerson’s new portfolio, Ten Miles Round, at the Gallery of Photography, Dublin is previewed by Stephanie McBride
Tom Dunne examines the Crawford Art Gallery’s exploration of artistic responses to fear, from the late eighteenth century to the present
Michael Canning’s botanical paintings stand as an allegory for a natural world under threat, observes Sue Hubbard
Marianne O’Kane Boal welcomes a new body of work from the prolific Neil Shawcross at the Caldwell Gallery, Belfast this spring
Stephanie McBride navigates questions of context and place in Anne Tallentire’s current series of work, currently on view at IMMA
Bridget Flannery’s brand of abstraction suggests an allegory for a way of living with the sparest of resources, writes Mary O’Donnell
Livia Hurley investigates Peter Monaghan’s uniquely tectonic installation at Number 1 Grand Parade, Dublin
Ann Curran detects a mood of ennui and repressed energy in the work of Eoin O Conaill, the winner of the Gallery of Photography and Irish Arts Review Artist Award
Brian McAvera previews new work from Brian Henderson at the Taylor Galleries in Dublin this autumn
Barbara Dawson promises exciting new discoveries about Francis Bacon’s technique when his centenary exhibition opens this autumn at Dublin City Gallery The Hugh Lane.
Farmleigh, Edward Cecil Guinness’ retreat in the Phoenix Park, is host to an exhibition of artworks that illustrates his patronage and devotion to the city of his birth, writes Mary Heffernan
Ciaran Bennett assesses the evolution of emblem and motif in John Noel Smith’s new series of paintings at Hillsboro Fine Art Gallery
Riann Coulter evaluates the exchange of ideas and shared interests of Nano Reid and Gerard Dillon at the Highlanes Municipal Art Gallery, Drogheda
Catherine Leen views Stephen Lawlor’s new suite of paintings at Fred London and finds the printmaker revelling in the accidental possibilities of oil
Sarah Browne and Gareth Kennedy have created a series of culturally relevant projects for Ireland’s participation at the 53rd Venice Biennale, writes Marianne O’Kane Boal
Michael Dempsey argues for a reappraisal of the work of Patrick Graham, Brian Maguire, Patrick Hall and Timothy Hawkesworth, as the four are reunited at Dublin City Gallery The Hugh Lane
The tensions between the graphic and richly coloured areas of Sinead Ní Mhaonaigh’s new paintings at the Kevin Kavanagh Gallery have a strong emotive charge, writes Catherine Leen
James Fitzgerald’s ‘Aran Drawings’ from the late 1960s translate island life into stark visual form writes John M Cunningham, ahead of the exhibition at the Regional Cultural Centre, Letterkenny
Patrick T Murphy ponders definitions of drawing, in the context of an unusual exhibition of sculptures and drawings at Macroom Town Hall Gallery in Cork
James Hanley observes Comhghall Casey as he prepares for a solo exhibition in Dublin this autumn hosted by Solomon Fine Art
Audrey Whitty discusses highlights from the National Museum’s principal long-term exhibition, beginning this winter, which focuses on the rare Asian objects d’art donated by philanthropist Albert Bender in the early 1930s.
The exhibition of Hughie O’Donoghue’s work, at the Irish Museum of Modern Art, demonstrates that the figure has finally emerged triumphant, writes Mic Moroney
Jane Humphries previews new paintings and works on paper by John Cronin at Green on Red Gallery, Dublin
Dermot Healy traces the beginnings of Diarmuid Delargy’s painterly preoccupation with the power and vulnerability of indigenous Irish sharks in his new suite of paintings on show at Taylor Galleries, Dublin.
Peter Murray explores the stimulating content of the literary salon currently on view at the Crawford Art Gallery, Cork, a collaborative exhibition with the Arts Council and the Abbey Theatre
Julian Walton discusses the brilliant but tragically short career of 18th-century landscape artist Thomas Roberts, the subject of an exhibition at the National Gallery of Ireland
Paul Caffrey gives an account of Hugh Douglas Hamilton, Ireland’s leading portrait painter, and the subject of a forthcoming exhibition at the National Gallery of Ireland in this, the bicentenary year of the artist’s death
John Turpin previews a major exhibition featuring over two hundred works by Daniel Maclise, Cork’s most admired artist of the 19th century, organised by the Crawford Gallery of Art
A good print is the sum of an artist’s stamina and vision, writes NIALL NAESSENS ahead of the Graphic Studio’s print show at the Chester Beatty Library, Dublin in January 2009
Michael John Gorman previews new work from scientist-turned-artist Bea McMahon, at the Green on Red Gallery this winter
Desperate Dan and William Hogarth are unruly muses to a new installation by John Kindness, currently on view at the Foundling Museum, London, writes Nicola Gordon Bowe
Dickon Hall recalls the career of fiercely-independent artist Nevill Johnson, the subject of a major retrospective at the Ava Gallery, Co Down
John Mulcahy appraises the redevelopment of the Royal Hibernian Academy on the reopening of the gallery for the 178th Annual Exhibition
Dara McGrath’s stark images documenting the demolition of the Maze Prison in Belfast, captures fragmentary moments of erasure, writes Marianne O’Kane Boal
Diana Copperwhite’s forthcoming exhibition at the West Cork Arts Centre showcases a new ambition in scale, writes Alannah Hopkin
Jane Humphries previews ‘Luan tSleibhe’ a new suite of still-life painting from Geraldine O’Neill at Draiocht this autumn
Andrew Folan uncovers specific traces of sculptural strength in a new series of prints from Gerard Cox at the Graphic Studio Gallery this November
Emily Mark Fitzgerald explores William McKeown’s luminous paintings and their engagement with light, space and the present moment
The Royal Ulster Academy has not kept pace with currents in contemporary art practice, but this year there are signs of change, argues Brian McAvara
Breon O’Casey has long been admired as a weaver and jeweller, but recently his painting and sculpture have taken precedence with renewed vigour and scale, writes Brian Fallon
‘Too Early for Vacation’ is the theme of this year’s ev+a; the artists shown here offer a nexus of perspectives on this subject, explains Marianne O’Kane Boal.
New paintings from Brian Maguire at the Kerlin Gallery this spring tackle injustice with compassion and dignity for the victims, writes Barbara Dawson
Catherine Marshall previews Hughie O’Donoghue’s latest body of work, a creative hybrid of painting and photography
Brian Fallin sees traces of Constable and Turner in the Donegal landscapes of Melita Denara
Caoimhín Mac Giolla Leith reflects on the constants within Charles Tyrrell’s practice as this uncompromising modernist prepares for his 40th anniversary exhibition in April
Is there a perceptible trait to Irish art? Frances Ruane wonders the questions as 70 artworks drawn from the AIB and Crawford collections go on view in London
James Hanley pinpoints the hallmarks of a ‘painter’s painter as seen on Joe Dunne’s meditative suite of paintings on view at the RHA
Brian McAvera anticipates a deepening appreciation for the work of Northern artist T P Flanagan following his retrospective at Bonhams, Dublin this March
Brian Fallon traces painterly antecedents in the work of that most European of artists, Stephen McKenna, ahead
of his thematic exhibition at Dublin City Gallery the Hugh Lane
Imelda Kilbane’s paintings are hewn from the wild and rugged Achill Island in County Mayo, writes Mark Ewart as the artist’s first solo exhibition
Brian McAvera examines a provocative new series from Colin Davidson, which brings us face to face with those who have been overlooked in Northern Ireland’s hard-won peace
Eilis O’Brien previews a selection of sculpture by Eamonn Ceannt who draws inspiration from the dynamic form of dancers in movement currently on view at Gormley’s Fine Art, Belfast
William Gallagher tracks Janet Mullarney’s installation from its debut at the Highlanes Gallery to its currents setting in the Butler Gallery, Kilkenny
Blaise Smith’s intention for his new suite of paintings on view at the Molesworth Gallery in Dublin, is to provide a place ‘where the eye can rest’, he tells Angela Griffith
Peter Murray remembers the multi-talented artist-composer Brian Boydell
Brenda Moore-Mccann visits the Sligo studio of Michael Wann as he prepares for a solo exhibition at the Cross Gallery, Dublin in April
Carissa Farrell discovers that no aspect of the human condition escapes Vera Klute’s focus as she marshalls her multi-disciplinary skills in preparation for her show at the Moelsworth Gallery in May
Brian Fallont races the cosmopolitan influences at work in the painterly language of Makiko Nakamura
The theme of sexuality was often overlooked in Patrick Hennessy’s work, but a new exhibition at IMMA marking his centenary offers an opportunity to assess its role in his art, writes Sean Kissane
Riann Coulter points to some highlights from David Crone’s forthcoming retrospective hosted at the FE McWilliam Gallery
Judith Hill examines the political content of Robert Ballagh’s survey exhibition at the Hunt Museum, Limerick
Plein air or plein foolhardy? Joe Wilson takes on the Beara, writes James O’Nolan ahead of the artist’s solo show at the Catherine Hammond Gallery, Skibbereen, Co Cork
Neal Greig tells Mark Ewart of his sense of wonderment’ at being in the landscape ahead of his exhibition at the Claremorris Gallery, Co Mayo in August
Janet Mullarney’s belief in the power of materials to give life to ideas is seen in the art she has curated for Farmleigh Gallery, Dublin, on view this summer, writes Carissa Farrell
The aesthetics of the digital age are invoked in Diana Copperwhite’s new paintings at the RHA, writes Yvonne Scott
Nicola Gordon Bowe previews multidisciplinary work by four artists inspired by their location in Co Clare showing at Origin in September
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
Michael Kane has not only forged a style, he has helped substantially to forge the style of others, writes Brian Fallon ahead of the Hugh Lane Gallery’s survey exhibition in October
Mic Moroney guides us through the fabulous scenes created by Polish-born, Dublin-based artist Andrzej Mazur who is currently exhibiting at the RUA 135th Annual Exhibition
Angela Griffith previews a new suite of paintings from Geraldine O’Neill, recent winner of the lreland-U.S. Council/Irish Arts Review Portraiture Award
Light drives the focus and the atmosphere in Kevin Cosgrove’s series on unpeopled workspaces, writes James Hanley as Cosgrove’s solo show continues at the Butler Gallery, Kilkenny
It is tempting to see Felim Egan as both composer and conductor, setting out his theme, writes James O’Nolan of the artist’s return to exhibition in Dublin
In ·zxx at the RHA, abstract painter John Cronin presents his latest examination of painting in the age of the Internet and artificial intelligence, writes Luke Naessens
Frank McDonald recalls the Irish Architectural Archive’s mission ‘to collect and preserve’ an ambition admirably demonstrated in their 40th anniversary exhibition ‘House and Home’
As winner of the Hennessy portrait prize Gerry Davis has cause for celebration; yet his recent series illustrating dormant studios shows the stark reality for many of his peers, writes Donal Maguire
Michaele Cutaya looks forward to Cecilia Danell’s solo show at the Galway Arts Centre inspired by time the artist spent in Sweden and Norway
Art picks up where nature ends, writes Gerry Walker of Dermot McNevin’s new paintings
Sarah Kelleher reports on Jesse Jones’ collaborative project for the 57th Venice Biennal featuring Olwen Fouere and sound by Susan Strenger
Donal Maguire sees an elegant statement on the interconnectedness of all things in David Beattie’s installation at IMMA
Kevin Francis Gray’s debt to classical sculpture is both obvious and complicated, writes Riann Coulter in anticipation of the Armagh-born artist’s first exhibition on this island.
Audrey Whitty explores the concept behind Sodeisha as the National Museum marks the 60th anniversary of Irish-Japanese diplomatic relations with a joint exhibition.
Riann Coulter finds a personal compendium collated with daring and vigour, in Basil Blackshaw’s work
Weird, slightly nauseating yet also beautiful; Francis Halsall looks forward to Siobhán Hapaska’s autumn exhibition at the Kerlin Gallery, Dublin.
Brian McAvera sees Colin Davidson wrestle with sexual politics in his new series of Nudes on view this autumn at Oliver Sears Gallery, Dublin.
Peter Murray reflects on the cool Nordic aesthetic of Patricia Burns whose work is on view in January at the Taylor Galleries, Dublin.
In response to the 1916 centenary, EVA International takes as its theme, the post-colonial legacy on the psyche and imagination of colonized communities, writes Michaele Cutaya.
Proving that good design is timeless, Virginia Teehan presents a selection of rare artefacts travelling to Boston College, celebrating Irish design from the Arts and Crafts Movement.
Archetypal motifs emerge as though retrieved from the ‘ploughed fields of the soul,’ writes John Hutchinson of Patrick Hall’s paintings at Hillsboro Fine Art, Dublin
Michaela Cutaya falls within the orbit of John Gerrard’s virtual constructions in her analysis of this year’s featured project at the Galway Arts Festival.
Elizabeth Kirwan looks at Gerry Andrews’ magisterial series tracing the activities of Limerick’s Milk Market
How reliable is historical documentary? Levi Hanes examines Turner Prize Winner Duncan Campbell’s filmic presentation of this question at IMMA this winter
Fionnuala Croke presents a selection from the panoply of objects d’arts on view at the Chester Beatty Library’s ‘A to Z’ exhibition
Elizabeth Cope has returned from a productive season painting in South America; Alannah Hopkin previews the chromatic results to go on view this autumn at the Origin Gallery, Dublin
It is the implication of something beyond a simple landscape that makes Martin Gale’s art so compelling, writes Alison FitzGerald as his exhibition continues at Taylor Galleries, Dublin
This month Dorothy Cross delves into our national collections to create a show for IMMA,here she tells Brian McAvera ‘Sometimes I need extreme new experiences to find new directions,’ while the show continues into March 2015
Susan Rogers visits woodturner Liam Flynn at his County Limerick studio
Ursula Burke, Emma Donaldson and Deirdre McKenna explore the mutable topic of time at the F E McWilliam Gallery, Banbridge. Claire Dalton looks at their responses
From a rural setting in County Antrim, Basil Blackshaw has contributed a new chapter to the story of Irish art, writes Brian Fallon as the retrospective at the F E McWilliam Gallery marking Blackshaw’s 80th birthday continues.
Carissa Farrell is transfixed by the shard-like glass birds and decayed flowers that combine to fascinating effect in Graham Gingles’s signature boxes at the Hamilton Gallery, Sligo
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