Hughie O’Donoghue’s commission for the Lady Chapel at Westminster Abbey by Peter Murray
Is street art anti-social behaviour or has it been transformed into a vital and socially-engaged practice that reclaims our urban environment?
Silvia Loeffler considers the politics of visual expression
Hilary Pyle recalls the powerful influence of Henri Matisse on Alicia Boyle’s artistic development.
Brian McAvera applauds Colin Davidson’s turn to portraiture as several of his works go on display in Belfast, Dublin and London
Sarah Downey looks at constancy and evolution in Chris Wilson’s art practice, ahead of his retrospective in April at Strule Arts Centre, Omagh
‘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
Maurice Harron’s Saints and Scholars herald Offaly’s monastic past, emerging from the chronicles of its landscape, writes Sinead O’Reilly
The strong decorative element within Kathleen Holohan’s paintings reflects a sympathetic celebration of the ordinary, Gerry Walker
Before the Government implements their proposed art strategy, Gerry Walker argues that we must redetermine the nature and role of the arts within Irish culture
On the centenary of the artist’s birth, Brian Fallon revisits some personal recollections of George Campbell’s Spanish period
Carla Briggs considers the most potent chapter in Margaret Clarke’s career and the aspirations that fuelled her creativity
Non-naturalistic candy colours imbue Shane Berkery’s new collection of paintings on view at Chimera Galley, Mullingar with a surreal edge, writes Susan Campbell
Gerry Walker welcomes an alternative to the conventions of gallery management in the work of Olivier Cornet
Eddie Rafferty’s love affair with Africa is manifest at his first major survey exhibition on view this summer at the FE McWilliam Gallery, Banbridge, writes Riann Coulter.
George Warren’s approach to art is influenced and inspired by his interest in analytical psychology, writes Robert Armstrong.
Richard Gorman is marking his 70th year with an exhibition at Castletown, Co Kildare where his colourful abstracts animate the walls of its classical interior, writes Jennifer Goff.
George Berkeley is famous for his contribution to philosophical thought, but less well known for his observations on art, some of which Peter Murray examines here.
Impressively executed and unsettling in effect, Molly Judd’s Murmuring Lights, is a worthy winner of this year’s Ireland-U.S. Council/Irish Arts Review Portraiture Award, writes Donal Maguire.
Isabella Evangelisti previews a collection of new paintings from Una Sealy that take as their focus the edge between land and sea, youth and maturity, on view at the RHA, Dublin.
Lord Charlemont’s Casino provides an ideal setting for a landscape exhibition prompting Ruth Musielak to examine some favoured historical views of the vicinity
Losing faith in the early success of her work led Miseon Lee on a journey of self-discovery, both in artistic terms and geographically, writes James Hanley
Was Daniel Maclise a proto-Nationalist painter? Peter Murray thinks not, in his assessment of the National Gallery’s recently restored masterpiece.
Carissa Farrell reports on sculptor and multi-media artist Andrew Kearney’s new installation ‘Tell Me Something’ for Limerick City of Culture, which continues Kearney’s focus on the policing of the private individual