Artist Jesse Jones’s intervention in the Hugh Lane Gallery as part of the Artist as Witness programme earlier this year, threw up a hitherto unrecognised masterpiece: The Woman with the Puppets (1915)
Bread might seem like an unlikely vehicle for all that an artist wants to say about the 1916 Easter Rising, but Muriel Brandt knew its potential as a metaphor.
The death of John Berger at the start of this month led me to root out this piece I wrote about his 2005 show of collaborative drawings with Marisa Camino, held at the Vangard Gallery in Cork.
What happens when an artist, still under the age of fifty and making brilliant new work is suddenly gone, too soon and, for those around them, entirely unexpectedly?
One of the jobs of a best-of list is to ignite debate, hence its enduring popularity as a form. Síghle Bhreathnach-Lynch’s book is nicely timed, and with with a suitably internet-age, urgent, click-bait style title.
The premise of William Pressly’s book on the London murals of Irish-born artist James Barry has the ring of a mystery thriller about it.
A publication that is as much a tribute to the depth and range of contemporary Irish writing as it is a wordy love song to the artworks from the National Gallery of Ireland that illustrate its thick, creamy pages.