Visual Artists News Sheet | Visual Artists Ireland

The November/December Visual Artists’ News Sheet (VAN) is hot off the press! It will be sent by post to all VAI members and arts organisations in the coming days. Guest editor Joanne Laws looks back at a series of prominent projects and themes from 2016.

The topic of commemoration is explored in Helen Carey’s column ‘To Commemorate or Not to Commemorate’ and in the ‘Public Art’ profile of ‘Stormy Petrel’ by Brian Hand, Orla Ryan and Alanna O’Kelly. In his ‘How is it Made? article, Andrew Duggan outlines the multi-venue exhibition ‘Proclamation’, looking at the 1916 centenery in a range of ways.

This theme ties directly into another, which reoccurs throughout the issue: that of feminism and gender equality in contemporary Ireland. Columns by Joanne Laws and Aislinn O’Donnell look at recent visual arts projects that investigate these ideas, while Sarah Browne and Jesse Jones discuss their ongoing commission ‘In the Shadow of the State’. In her profile of the Dublin Live Art Festival 2016, EL Putnam also delves into some of these issues.

Moving further afield, James L. Hayes writes about his recent exhibition ‘A Near Visible Past…’, held in New Orleans, and Kathleen Bitetti profiles public art works by Caoimhghin Ó Fraithile and Michael Dowling in Boston. Other features include Michaële Cutaya’s interview with 2016 Tulca curator Daniel Jewesbury, a report on this year’s Get Together and a look at The Enquiry @IMMA, a research group examining exhibition-making strategies.

‘Organisation’ profiles for November/December focus on Askeaton Contemporary Arts in County Limerick and the MONTO Arts Group, a collective of arts organsations and galleries located in north inner city Dublin.

Reviewed in the ‘Critique’ section are: Paul Murnaghan at Limerick City Gallery of Art; Robert Kelly at Draiocht, Blanchardstown; Sarah Browne and Jesse Jones’s performance event at the Rotunda, Dublin; the group show ‘Glow’ at Catherine Hammond Gallery, Cork; and Gary and John Coyle at The Dock, Leitrim.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles will be available on the new VAN blog from Friday at: visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists.

Writer and researcher Joanne Laws is the guest editor and her column features on page 5. Several interviews are included in this issue: Joanne Laws spoke to Alistair Hudson about the Arte Útil movement; Conor McFeely interviewed Andres Serrano during his recent exhibition ‘Torture’ at Void, Derry; while Rayne Booth spoke to Benjamin De Búrca and Bárbara Wagner at the 32nd São Paulo Biennial.

In the Irish context, Gianna Tasha Tomasso reviews TULCA Festival of Visual Art and Kevin Gaffney outlines the making of his new film work, supported by Sky Arts Academy, which is currently showing at Millennium Court Arts Centre, Portadown. Internationally, Pádraic E. Moore discusses his event ‘Ectoplasm’ at 1646, The Hague, and Áine Phillips reviews the Guerrilla Girls exhibition at Whitechapel, London, which surveys levels of inequality across European art institutions.

On the subject of art writing , publishing and readerships, Marysia Wiezkiewicz-Carroll reports on the ‘Art & Writing’ programme organised by Paper Visual Art and Gorse journals. In a similar vein, Nathan O’Donnell offers insights into the panel discussion ‘Art, Writing, Narrative and its Territories’, which coincided with Katrina Palmer’s solo exhibition ‘The Three Stories are Flattened’ at Void, Derry.

A number of Irish residencies also feature: Suzanne Walsh reports on the ‘Resort Revelations’ residency programme in Portrane, Colin Martin provides an overview of the ongoing Tony O’Malley Residency for painters and Jessica Foley reflects on her participation in ‘The Centre for Dying on Stage #3’, an intensive six-week residency at Cow House Studios, County Wexford.
VAI Northern Ireland Manager Rob Hilken discusses the Belfast Open Studios event, while VAI Director Noel Kelly describes how the uncertainties of Brexit are already impacting on VAI and other cultural organisations across Ireland. The Regional Roundup for this issue comes from County Leitrim, outlining recent activities of The Dock, Leitrim Sculpture Centre, Creative Frame, Leitrim Arts Office and artist Daniel Chester. Reviewed in the Critique section are: Mary Patterson at Ballina Arts Centre; Benedict Drew and Miguel Martin at CCA Derry-Londonderry; Fiona Lowe Brunell at ArtisAnn Gallery, Belfast; Rayleen Clancy at Signal Arts Centre, Bray; and the Hennessy Portrait Prize 2016 at the National Gallery of Ireland.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres. Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

Writer and researcher Joanne Laws is the guest editor of the Jan/Feb issue of the VAN, out now.

Several interviews are included in this issue: Joanne Laws spoke to Alistair Hudson about the Arte Útil movement; Conor McFeely interviewed Andres Serrano during his recent exhibition ‘Torture’ at Void, Derry; while Rayne Booth spoke to Benjamin De Búrca and Bárbara Wagner at the 32nd São Paulo Biennial.

In the Irish context, Gianna Tasha Tomasso reviews TULCA Festival of Visual Art and Kevin Gaffney outlines the making of his new film work, supported by Sky Arts Academy, which is currently showing at Millennium Court Arts Centre, Portadown. Internationally, Pádraic E. Moore discusses his event ‘Ectoplasm’ at 1646, The Hague, and Áine Phillips reviews the Guerrilla Girls exhibition at Whitechapel,
London, which surveys levels of inequality across European art institutions.

On the subject of art writing , publishing and readerships, Marysia Wiezkiewicz-Carroll reports on the ‘Art and Writing’ programme organised by Paper Visual Art and Gorse journals. In a similar vein, Nathan O’Donnell offers insights into the panel discussion ‘Art, Writing, Narrative and its Territories’, which coincided with Katrina Palmer’s solo exhibition ‘The Three Stories are Flattened’ at Void, Derry.

VAI Northern Ireland Manager Rob Hilken discusses the Belfast Open Studios event, while VAI Director Noel Kelly describes how the uncertainties of Brexit are already impacting on VAI and other cultural organisations across Ireland. The Regional Roundup for this issue comes from County Leitrim, outlining recent activities of The Dock, Leitrim Sculpture Centre, Creative Frame, Leitrim Arts Office, StArt Studios and artist Daniel Chester. Reviewed in the Critique section are: Mary Patterson at Ballina Arts Centre; Benedict Drew and Miguel Martin at CCA Derry-Londonderry; Fiona Lowe Brunell at ArtisAnn Gallery, Belfast; Rayleen Clancy at Signal Arts Centre, Bray; and the Hennessy Portrait Prize 2016 at the National Gallery of Ireland.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet is the primary all-Ireland information resource for visual artists presenting case study articles on all aspects of the lives of professional artists, alongside features offering critical reflection and analysis of relevant aspects of the art world in Ireland and internationally.

In January 2017, we learned of the sad passing of the influential British writer and cultural theorist Mark Fisher, who was a columnist for VAN for many years. Declan Long’s poignant tribute features alongside a reprint of Mark’s column ‘The Game Has Changed’, which was first published in the January/February 2011 issue.

In other columns for this issue, Arno Kramer outlines the growing momentum of contemporary drawing in Paris and the Netherlands, while VAI Northern Ireland Manager Rob Hilton discusses prominent painting exhibitions across Northern Ireland. An Organisation Profile of MART, Dublin, by Bernard O’Rourke, offers insights into the evolution of the artist-led space 10 years after it was established. Declan Sheehan discusses Future Artist-Makers, a project showcasing the work of Derry’s FabLab, housed at the Nerve Centre.

This issue features reports from seminars that recently took place around the country: Lisa Fingleton covers ‘Sites of Tension – Sites of Collaboration’ in Portlaoise; Linda Shevlin reports on the Arts Council’s ‘Place Matters’ conference at Dublin Castle in January; while Joanne Laws outlines the ‘Radical Actions’ seminar that took place in December 2016 in county Roscommon. A number of artist residencies are profiled in this issue: Tinka Bechert looks back at her participation in Leitrim County Council’s SPARK residency; internationally, Sam Keogh reflects on his ongoing residency at Rijksakademie in Amsterdam; while Jim Ricks discusses his residency and exhibition at Casa Maauad, Mexico City.

In the Career Development section, Roger Hudson reflects on his artistic career and discusses his artist book Taking the Scissors to Society. Aideen Doran outlines the trajectories of her ongoing practice to coincide with the premiere of her new film at the Flatpack Film Festival in Birmingham this spring. Trish Brennan interviews Ailbhe Ní Bhriain about recurring themes in her recent work, while Sami Giarratani discusses the Truth Booth’s tour of America in the run up to the presidential election.

The Regional Profile for this issue comes from Antrim and Newtownabbey, outlining recent activities of the Arts Office’s Flax and Oriel galleries, as well as Jordanstown Art Club. Artists Andrea Spencer and Alan Milligan discuss the pros and cons of maintaining an arts practice in the region. Reviewed in the Critique section are: ‘Gut Instinct’ at Lewis Glucksman Gallery, Cork; Locky Morris at Naughton Gallery, Belfast; ‘Guest 2’ at Arts and Disability Forum, Belfast; Mark Garry at Luan Gallery, Athlone; and Phillip
Allen at Kerlin Gallery, Dublin.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres. The Visual Artists’ News Sheet Online offers our readers a platform to discuss a number of the articles and the topics contained in the print edition.
www.visualartistsireland.com

From late-February to mid-April, a series of public meetings were held across the country as part of the Creative Ireland programme, a five-year government initiative which seeks to place creativity at the centre of public policy. Joanne Laws’s VAI News column outlines what transpired at the Roscommon and Leitrim meetings. In other columns, Pádraic E. Moore describes a revived interest in 1970s industrial music, probing the crossovers with performance art. Our Northern Ireland column comes from artist and researcher Laura O’Connor, who discusses the WANDA Feminism and Moving Image event which took place in Belfast in February 2017. Martin Waldmeier’s column tackles ‘The Problem of Jargon’ within the art world and introduces Plain English Criticism, a concept explored by Art and Disability Ireland, who invited Michelle Browne to write a review for the Critique section using this pared-back approach to language.

Also in this issue, Joanne Laws interviews John Hutchinson about his 25-year directorship of the Douglas Hyde Gallery, while Manuela Pacella interviews Irish curator Kate Strain about her recent appointment as Artistic Director of the Grazer Kunstverein in Graz, Austria. Sue Rainsford, winner of VAI/DCC Arts Office Critical Writing Award, presents her review of Vanessa Donoso Lòpez’s exhibition ‘to swallow a ball’, which was presented at The LAB, Dublin from September to November 2016. Susan MacWilliam reflects on her survey exhibition ‘Modern Experiments’. This issue includes several organisation profiles: Daniel Bermingham outlines the evolution, methodologies and future trajectories of Basic Space, Dublin; Gavin Murphy reflects on last year’s 20-year anniversary programme of Pallas Projects/Studios; and Paul Tarpey offers insights into the working methods of Parallel Editions, an independent fine art printmakers based in Limerick.

In the How is it Made? section, we have project profiles from Matt Packer and Alissa Kleist, who discuss CCA Derry’s touring exhibition ‘Scissors Cut Paper Wrap Stone’, currently showing in Ormston House, Limerick. L isa M oran o utlines t he r ecent P alestine/Irish s tudent e xchange a t I MMA. Charlotte Bosanquet looks back at the various strands of her residency in New Lodge Arts, North Belfast. The Regional Profile for this issue comes from County Kerry, with updates from the Arts Office, Dingle’s Courthouse Studios, the Rural Artists Group and K-Fest, as well as artists Sue Leen and Nicole Tilley.

Reviewed in the Critique section are: ‘Futures: Series 3, Episode 1’ at RHA, Dublin; Jonathan Mayhew at Wexford Arts Centre; ‘Buzz and Hum’ at Limerick City Gallery of Art; ‘Frank O’Meara and Irish Artists Abroad’ at Dublin City Gallery the Hugh Lane; and ‘The Mistress of the Mantle’ at MART, Dublin.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

In this Issue:

With biennale season upon us, major international art events are taking place around the world. This issue includes two reports from the 57th Venice Biennale, which runs until late November 2017: an editorial column from Joanne Laws highlighting the work of female artists in Venice, and a report by Anne Mullee on the participation of Irish artists in various national and collateral events. In addition, Johnathan Carroll offers insights into Skulptur Projekte Münster and documenta 14, while Michelle Boyle reports from the 2016 Kochi-Muziris Biennale, which ran until March 2017 in Kerala, India. In his timely column, Martin Waldmeier highlights the rise of English as the ‘lingua franca’ of contemporary art.

In other columns, Alex Davis, Manager of IVARO, offers insights into artists’ estates. Áine Phillips outlines artists’ withdrawal from globalised systems, while Conor McGrady discusses a recent solo exhibition and ‘sleep concert’ by avant-garde musician and artist Steven Stapleton at Burren College of Art. Joanne Laws addresses the current issues faced by studio providers in Ireland, while VAI Northern Ireland Manager Rob Hilken outlines the studio situation in Northern Ireland.

Also in this issue, Pádraic E. Moore interviews Vivienne Dick about her new film, Augenblick (2017), and her long-running friendship with American photographer Nan Goldin, to coincide with their concurrent solo exhibitions at IMMA. Chris Clarke interviews Matt Packer, the newly-appointed director of EVA International and curator of TULCA Festival of Visual Arts (3 – 19 November 2017).

In the ‘Career Development’ section, recent graduates Aoife Dunne and Austin Hearne offer insights into their practices, while David Dunne discusses his residency at Pilotenkueche International artist residence, Leipzig, Germany. Jonathan Carroll interviews several people involved in ‘ROSC 50 – 1967/2017’, an ongoing collaborative research project undertaken by IMMA and NIVAL. Barry Kehoe offers fascinating insights into IMMA’s Azure Tours for people with dementia and their carers.

In the ‘How is it Made?’ section, John Dine interviews Tamsin Snow about her new film Showroom. In the new ‘Artists’ Publishing’ section, Ruth Le Gear discusses her recent project and book ‘Water Senses’. The Regional Profile for this issue comes from Dún Laoghaire-Rathdown. Reviewed in the Critique section are: ‘Colourless Green Ideas Sleep Furiously’ at Project Art Centre; ‘Snake’ at Belfast Exposed; ‘Forged Carved Cast’ at Hamilton Gallery, Sligo; ‘This is Not Architecture’ at Highlanes Gallery; and ‘Into the gravelly ground’ at Mermaid Arts Centre.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public
art roundups, news from the sector and current opportunities.

September – October 2017 is a themed issue that focuses on contemporary Irish painting, offering timely insights into recent exhibitions, seminars, residencies and current studio practices. With so many vibrant painters currently working in Ireland and a wealth of painting exhibitions taking place nationwide, this thematic inquiry cannot be comprehensive. The issue places emphasis on materiality and the making process, while touching on discourse specific to the medium of painting.

In this Issue:

A series of extended essays has been commissioned to provide thematic surveys of contemporary Irish painting: Ramon Kassam examines representations of the landscape; Mark O’Kelly discusses recent developments in portraiture; and Alison Pilkington offers valuable insights into contemporary abstract painting.

In the columns for this issue, Colin Martin introduces ‘The Materiality of Painting’ – an upcoming lecture series at the RHA that seeks to explore material concerns specific to current painting practice. VAI NI Manager Rob Hilken discusses the trajectory of painting in Northern Ireland, while Marcus Cope outlines the evolution of the Marmite Prize for Painting. Also in this issue, Susan Connolly reports on her residency in Golden Paints, New York, while Marc Guinan discusses the seminar he organised at The LAB, Dublin, entitled ‘Painters Talking Paint’. In the organisation profiles, Ronan Lyons discusses the Molesworth Gallery, Dublin, while Valerie Ceregini interviews three painters – Colm MacAthlaoich, Natasha Conway and Dennis Kelly – who will present solo exhibitions at Pallas Projects and Studios in the autumn.

In the ‘How is it Made?’ section, James Merrigan discusses All or Nothing, his new documentary film about painting. Ailve McCormack interviews Mark Francis in his London studio, while Helen G. Blake talks about her painting practice. Interviews by Joanne Laws and Martin Herbert offer insights into the work of Elizabeth Magill and Ronnie Hughes, to coincide with their high-profile touring exhibitions. Joanne Laws also interviews three Irish painters at various stages of their careers – Jane Rainey, Ciarán Murphy and Robert Armstrong – about the realities of maintaining a painting practice in Ireland.

Reviewed in this issue’s extended Critique section are: ‘Painting NOW’ at Green on Red Gallery; ‘Memory Needs a Landscape’ at Taylor Galleries; ‘The Living and the Dead’ at Temple Bar Gallery and Studios; ‘International Ireland’ at the Ulster Museum; ‘Crooked Orbit’ at Kevin Kavanagh; ‘Faith After Saenredam and Other Paintings’ at Kerlin Gallery; ‘A Dream and an Argument’ at The MAC; and ‘What We Do in the Shadows’ at Almine Rech Gallery, Brussels.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. In the columns for this issue, Nick Miller discusses his role as curator of the RDS Visual Arts Awards 2017, while CEO of Visual Artists Ireland, Noel Kelly, offers insights into artistic censorship in Ireland. The NI column comes from Ben Crothers, who outlines the evolution of the long-running monthly event, Late Night Art Belfast.

This issue includes several conference reports: Joanne Laws and Christopher Steenson report on VAI’s Get Together 2017 at IMMA; Sarah Kelleher discusses ‘FIRST EDITION’ – a print symposium at Millennium Hall, organised by Cork Printmakers; Ciaran Smyth reports from Toronto, Canada, on ‘The Creative Time Summit 2017’; and Sue Rainsford outlines the ‘Art & Trauma’ seminar at The LAB, Dublin.
Continuing the theme of art and trauma, EL Putnam explores the work of County Down-based glassmaker, Alison Lowry, in the ‘How is it Made?’ section. Louise Manifold discusses her upcoming project ‘AerialSparks!’ commissioned for the Galway 2020 European City of Culture. In the Career Development section, Melissa O’Flaherty discusses the themes that underpin her practice, while Sarah Hayden interviews Pádraig Spillane about his recent work and solo exhibition ‘What Passes Between Us’.

Seoidín O’Sullivan reports on her recent socially-engaged residency in Chicago; Rebecca Strain outlines ‘The Unfamiliar Familiar’ – a project by artist Sue Morris commissioned by the Dementia Services Development Trust; and Stephen Rennicks presents several case studies that explore the ‘afterlife’ of public artworks. From a material culture perspective, Lisa Godson examines the banners created by the Artists’ Campaign to Repeal the Eighth Amendment, situating them within the broader history of social protest movements. In the Artists’ Publishing section, Ciarán Walsh discusses his novellas, Vortices and The Sickness, Book One, while Stephen Brandes outlines The food, the bad and the ugly, a new publication by the Domestic Godless.

The Regional Profile for this issue comes from Mid Ulster, outlining recent cultural activities of the Arts Office and the Seamus Heaney HomePlace. In addition, artists Brian Kielt and Trina Hobson discuss the realities of maintaining an art practice in the region.

Reviewed in the Critique section are: Kate Nolan at the Gallery of Photography; Pádraig Spillane at Sirius Arts Centre; Cliona Harmey, Seán Molloy and David Quinn at Solstice Arts Centre; Pat Collins and Paul Mosse at VISUAL; and ‘The Way Things Go: An Homage’ at the Butler Gallery.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. In the Columns for this issue, Áine Phillips offers a topical overview of gender issues in the arts, while Fiona Woods discusses best practice in artist-focused commissioning in her column ‘Has the Artist Been Consulted?’. In the NI column, Joey O’Gorman outlines his experiences as former co-director of Catalyst Arts, Belfast.

In the Artists’ Publishing section, Andy Parsons and Glenn Holman discuss their recent artists’ publication, The Rebel(s), while Ben Weir outlines his recent book, published in response to urban redevelopment in Belfast City Centre. In the Public Art section, Christopher Steenson interviews Robin Price about his recent environmental public art project, Automated Bird Rave Generator, while Laurie Kilmurry interviews Jenny Haughton about the evolution of the Grangegorman public art programme.

In the Organisation Profiles for this issue, Alan Phelan interviews Mary Cremin about her new role and upcoming programme at Void, Derry, while Nuala Clarke reports on the Ballinglen Arts Foundation and fellowship programme in County Mayo, which has just celebrated 25 years.

This issue features several Festival and Conference reports: Don O’Mahony reports on Sonic Vigil 10; Jane Morrow reports on Belfast Open Studios and Joanne Laws reports from IVARO’s Artist’s Estate Management conference, hosted by the RHA in late November.

In the How is it Made? section, Matt Packer interviews John Rainey about the evolution of his sculptural practice. In the Career Development section, Manuela Pacella interviews Andreas Kindler Von Knobloch about his recent residency at Catalyst Arts, Belfast. In addition, Chris Hayes’s extended essay assesses the contributions of James Merrigan’s Billion blog to Irish art criticism.

The Regional Profile for this issue comes from the Armagh City, Banbridge and Craigavon region (ACBC Borough), outlining recent cultural activities of: The Market Place Theatre, Armagh; F.E. McWilliam Gallery, Banbridge; Craigavon Arts Office; and Millennium Court Arts Centre, Portadown. In addition, artist Joanne Proctor discusses the reality of maintaining an art practice in the region, while Paul King provides an update from the SHORE Collective.

Reviewed in the Critique section are: Yvonne McGuinness at Draíocht Arts Centre; Brígh Strawbridge-O’Hagan at Birr Theatre and Arts Centre; ‘The Otherworld Hall’ at Solstice Arts Centre; and Robert and Barbara Ellison at The Island Art Centre, Lisburn.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. For this issue, art critic James Merrigan continues as guest editor. In his column ‘Where’s Our Marty Baron?’, he discusses the role of the editor and of the art critic.

Our regional focus for this issue is County Meath, with features from artists Aileen Hamilton and Aidan Flanagan, alongside updates from the Meath County Council Arts Office and Solstice Arts Centre.

‘Seminar Report’ articles come from Chris Hayes on ‘Artist-Led Island’ held at Sample-Studios, Cork, Emma Dwan O’Reilly on ‘The Value of Criticism’ at the Glucksman Gallery, Gavin Murphy on ‘Proposition: An Art of Ethics’ at the Burren College of Art and Rebecca O’Dwyer, who attended Dan Fox’s talk at Spike Island, Bristol titled ‘Pretentiousness: Why it Matters’.

In ‘Career Development’ pieces, Vagabond Reviews describe their curatorial practice, while Teresa Gillespie and Jonathan Mayhew interview each other on their approaches to making art. Lily Cahill and Rob Murphy introduce their collaborative practice in a ‘How is it Made?’ piece about their recent works.

Other articles come from Lucy McKenna, who discusses her residency at the Armagh Observatory and Planetarium, and Tom Watt, who talks to Declan Clarke about his work in overlook spaces. In VAI news, Noel Kelly summaries findings from the recent survey The Social, Economic and Fiscal Status of the Artist.

Reviewed in the ‘Critique’ section are: Martin Healy at Crawford Art Gallery, Patrick Hennessy at IMMA, Alex Pentak at Bailick Park, Midleton, a group exhibition on Kathleen Lynn across Mayo and David Quinn at Federesky Gallery.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The July/August Visual Artists’ News Sheet (VAN) is available and has been sent to all members. Selected articles on art criticism, artist-led spaces, funding in Northern Ireland and online works are up on the new VAN blog at: http://visualartistsireland.com

The July/August issue of the Visual Artists’ News Sheet was guest edited by Linda Shevlin and features articles from Anna Macleod, Dominic Stevens, Aoibheann Greenan and many more.

VAN Online:
visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Artist and curator Linda Shevlin continues as guest editor in this issue, which takes ‘participation’ as its theme. In their columns, Shevlin, Annette Moloney and Katherine Atkinson discuss ideas around this theme relating to their repective practices and roles in the Irish art world.

Our regional focus for this issue is Lisburn and Castlereagh, with updates from R-Space as well as artists Patricia Lavery, Helen Sara McLarnon and Andrew Cooke.

The theme of participation is continued in Aideen Barry’s piece, in which she describes the making of Silent Moves, a collaboration with participants from Scannán Technologies and the Ridgepool Training Centre. Michael McLoughlin also discusses his approach to long-term collaborative projects and the role of the artist in this process. In her ‘Project Profile’ Clodagh Emoe details the devlopment of her audio project with participants living in Irish direct provision centres.

This issue features several international projects: Rory Prout and David O’Kane in Arba Minch prison, Ethiopia, Michelle Boyle on residency in Kerala and Anastasia Artemeva reporting from the Moscow Biennale for Young Art.

‘Seminar Reports’ come from Tara Kennedy, who attended Create’s ‘Extending Architecture’ series of public talks, and Lily Power, who discusses the broad ranging closing seminar for Eva 2016: ‘Still (the Barbarians’.

Reviewed in the ‘Critique’ section are: John Byrne at The LAB, Dublin; ‘Two Birds/One Stone’ at Farmleigh Gallery, Dublin; David Fagan at Tactic, Cork; Kevin Killen at Queen’s University, Belfast; and ‘Creative Peninsula’ at Ards Arts Centre.

As ever, we have details of upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

This issue has a timely focus on several important exhibitions currently showing in galleries nationwide. On 13 April, the 38th edition of Ireland’s contemporary art biennial, EVA International, opened in various venues across Limerick city. EVA will run untill 8 July with several off-site projects also taking place in IMMA. Mary Conlon interviews EVA 2018 curator, Inti Guerrero, for this issue, offering insights into Guerrero’s curatorial research and exhibition-making strategies.

Meanwhile, a number of exhibitions and projects are currently taking place across Ireland to celebrate the diverse career of Irish conceptual artist and critic, Brian O’Doherty, who marks his ninetieth birthday this year. Brenda Moore-McCann’s extended essay outlines some of these events, while reflecting on O’Doherty’s vast artistic legacy.

Alice Maher’s solo exhibition, ‘Vox Materia’, is currently showing at The Source Arts Centre, Thurles, and will subsequently be presented at Crawford Art Gallery from 7 September to 24 November. Tina Kinsella interviews Maher about her new bronze sculptures and wood relief prints. In other features for this issue, Lily Cahill reflects on the sculptural practice of Hannah Fitz, an Irish visual artist currently based between Dublin and Frankfurt. Fitz’s solo exhibition, ‘Knock Knock’, is showing in Temple Bar Gallery + Studios until 30 June. In addition, Joanne Laws interviews Alison Pilkington about her touring exhibition, ‘How We Roam’, currently showing at The Dock, Carrick-on-Shannon until 2 June, before being presented at the RHA Ashford Gallery in autumn 2018.

Columns for this issue touch on some of the themes underpinning the upcoming VAI Get Together 2018 (which will take place in IMMA on Monday 21 May), particularly the panel discussion, ‘Curating Ireland – New Ways of Working’. VAI NI Manager Rob Hilken outlines ‘New Spaces’, an upcoming exhibition and curatorial mentoring programme taking place in non-traditional venues across the Derry City and Strabane region. Jeanie Scott – the outgoing Director of a-n The Artists Information Company – discusses some of the issues currently facing visual artists in the UK.

A number of conference reports feature in this issue: Logan Sisley reports on the ‘Networked Curator’ event at the Getty Center, Los Angeles; Anne Mullee discusses the Art and Heritage seminar that took place in Kildare in February; and Pádraig Spillane reports from Berlin’s Transmediale Festival 2018.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundup, critique section, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

In light of the historic vote to repeal the Eighth Amendment of the Constitution of Ireland, we asked Cecily Brennan to reflect on the contributions of the Artist’s Campaign. In other columns, Victoria Durrer, lecturer in Arts Management and Cultural Policy at Queen’s University Belfast, discusses a new collaborative research project, aimed at evaluating the impact of art as a catalyst for reconciliation. VAI NI Manager Rob Hilken reports on the symposium, ‘Best Practice in Developing Sustainable Artist-led Workspaces’ which took place on 11 June in Belfast.

In the How is it Made? section, Aidan Kelly Murphy interviews emerging artist Áine McBride, while Sarah Ellen Lundy discusses her ecology-themed art practice. Daniel Bermingham interviews Eimear Walshe and Emma Haugh about their recent exhibition, ‘Miraculous Thirst’, which ran at Galway Arts Centre from 5 – 25 May. Brenda Moore-McCann outlines some of the new work commissioned by Sirius Arts Centre as part of the ongoing Brian O’Doherty/Patrick Ireland project, ‘One, Here, Now’, including new work by Brendan Earley, showcased in his solo exhibition, ‘Present Perfect’. In other features for this issue, Jonathan Carroll discusses some of the main international contemporary art fairs attended by Irish commercial galleries, while Christopher Steenson provides an overview of Visual Artist Ireland’s Get Together 2018 and also reports on Sonorities, a sonic arts festival that took place across Belfast in April. In the new Art Education section, facilitators offer insights into ‘I Sing the Body Electric’ – an education programme for the 38th EVA International. Two conference reports also feature: Rebecca Kennedy reports on the Turbulence symposium at The Model, Sligo, while DIT students and inaugural Create fellows, Gemma Browne and Bianca Kennedy, report on the recent CAPP staging event in Madrid.

Organisation profiles for this issue come from Cork: John Thompson outlines the evolution of the artist-led intitiave, the Guesthouse Project, while Kirstie North interviews Mary McCarthy, Director of the Crawford Art Gallery, about her future plans for the gallery, including its renovation and extension.

The Regional Focus for this issue comes from Omagh and Fermanagh. Insights on the realities of living and working in the region are offered by visual artists Helen Sharp and Susan Hughes and sculptor Simon Carman, while Noelle McAlinden discusses the evolution of Fermanagh Live Arts Festival.

Reviewed in the Critique section are: Martin Gale at Taylor Galleries; Elizabeth Magill at the Ulster Museum; Sarah Walker at Oliver Sears Gallery; Gerry Blake at Mermaid Arts Centre; and Leo Boyd at Atom Gallery, London.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundup, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The latest issue of the Visual Artists’ News Sheet is a special issue focusing on the infrastructure and supports in place for emerging artists nationwide. A range of specially commissioned extended essays, profiles and case studies offer practical advice across a range of themed sections including: Galleries & Workspaces; Residencies; Graduate Awards & Opportunities; Postgraduate Education; Career Development and a Critique section focused on exhibition featuring emerging artists.

Hugh Mulholland talks about how artists might work with different types of galleries throughout their careers. Mark Garry discusses strategies for sustaining your practice after graduation. In addition, Christopher Steenson outlines some of the main considerations when renting an artist’s studio. Elsewhere, Jonathan Carroll outlines some of the main long-running opportunities for emerging artists north and south, including prominent graduate awards and annual open-calls, while Suzanne Walsh provides an extended overview of residency programmes nationwide. Joanne Laws offers advice on artist statements, CVs and public engagement, and also interviews emerging artists Cecilia Dannell, Marcel Vidal and Bassam Al-Sabah. Pádraic E. Moore also reflects on the realities of working as a freelance curator.

In the critique section, Colin Martin reviews Bren Smyth’s show, ‘Substance of Things’, at Pallas Projects/Studios; Áine Philips reviews ‘Outflow’ at 126 Artist-Run Gallery, featuring Ronnie Hughes and Evgeniya Martirosyan. John Thompson gives his take on Klaudia Olszyńska’s exhibition ‘51.791384, -8.291099’ at Studio 12, Backwater Artists Group in Cork. Colin Darke also reports back with his thoughts on ‘A composition of she’, by Justine McDonnell, at Golden Thread Gallery, Belfast.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The final issue of 2018 is loosely themed around several prominent anniversaries being celebrated this year, offering a retrospective glance at the evolution of various Irish arts organisations.

Given the upcoming 40th anniversary of Visual Artists Ireland in 2020, we are currently working on the SSI/VAN archive (which extends back to 1980), with a view to mobilising some of this archival material during VAI’s anniversary year.
This issue inclues an edited version of an important panel discussion, organised as part of a year-long programme to mark the fortieth anniversary of the Douglas Hyde Gallery. In other organisation profiles, Declan Long reflects on 30 years of the Kerlin Gallery, while Pádraic E. Moore interviews Oonagh Young about the tenth year of her Dublin gallery. In the Belfast context, Siobhán Kelly outlines upcoming events to mark 25 years of Catalyst Arts, while Jane Morrow discusses the 25th anniversary of the University of Atypical. This year also marks the fiftieth anniversary of Derry’s Civil Rights Movement, so we asked Sara Greavu to interview artist Helen Cammock about her new film, The Long Note, commissioned by Void, Derry, which explores the involvement of women in the 1968 movement. Annette Maloney, Sinead O’Reilly and Sally O’Leary reflect on another key anniversary for the Irish visual arts – 40 years since the launch of the Per Cent for Art scheme.

We also have reports on several long-running projects: Nathan O’Donnell discusses various strands of the ongoing public art project, ‘In Context 4’, while Gráinne Coughlan reports on ‘Practice and Power’, the closing event of a four-year European project led by Create. International perspectives are offered by Kathy Tynan, who reports from her residency at the Cité Internationale des Arts in Paris, and Jonathan Carroll, who discusses the Dora García retrospective at the Museo Reina Sofía in Madrid.

The Regional Profile for this issue comes from County Clare, with organisational insights from Conor McGrady (Dean of Academic Affairs at Burren College of Art), Sinead Cahill (Gallery Manager at Glór, Ennis) and Anne Mullee (Curator of Courthouse Gallery & Studios, Ennistymon). Michaële Cutaya reports from ‘Out of Place’, a recent exhibition and seminar at Courthouse, while artists Amanda Dunsmore, Tanya Harris and Kaye Maahs discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Lavish and Judicious’ at CCA Derry-Londonderry; Theresa Nanigian at Highlanes Gallery; Phil Collins at The MAC; ‘Museum of Mythological Water Beasts’ at Ormston House; and ‘My comfort and my joy’ at the Douglas Hyde Gallery. As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. This issue features a range of conferences, exhibitions, residencies and events that took place towards the end of 2018, while also profiling several ongoing artistic projects and collaborations. Members of VAI receive a copy of the VAN delivered straight to their door. The News Sheet is also available to pick up free of charge in galleries and arts centres.

In columns for this issue, Miriam Logan outlines some philosophical perspectives on activating creativity and Róisín Kennedy reviews the recently published collection of Brian O’Doherty’s letters, edited by Brenda Moore-McCann. Maeve Mulrennan discusses the recent ‘Reframing the ‘90s’ conference in UCC and Crawford Art Gallery, Cork, while Diana Bamimeke reports on ‘Winter Seminar: The Lives of Artists’ at TBG+S and the RHA. In this issue’s regional column, Manuela Pacella discusses recent exhibition highlights in Northern Ireland.

Career Development articles come from Pádraic E. Moore, who interviews Irish artist Doireann O’Malley about her recent solo exhibition at Dublin City Gallery The Hugh Lane, and Róisín Power Hackett, who reflects on her recent performance event at The LAB Gallery, which included mentorship with Amanda Coogan.

Evgeniya Martirosyan reports on her recent residencies in the Tyrone Guthrie Centre and Praksis, Oslo, while Christopher Steenson interviews Danny McCarthy and Mick O’Shea about their recent collaboration, which emerged out of their participation in the Rauschenberg Residency on Captiva Island, Florida.

In the How is it Made? section, Veronica O’Neill reflects on Clea Van de Grin’s touring show, ‘Jump’, and Michele Horrigan describes the folklore underpinning her recent exhibition, ‘Where Does The Law Stand With Leprechauns?’ at The LAB Gallery, Dublin. Áine Phillips reviews TULCA Festival of Visual Arts 2018, curated by Linda Shevlin, and Aidan Kelly Murphy interviews Eoin O’Dowd about Dublin’s former Eight Gallery. Coverage of recent VAI Events includes Chris Steenson’s report on the various happenings at this year’s Belfast Open Studios, and Kevin Burns’s review of the final iteration of the New Spaces project.

The Regional Profile for this issue comes from County Mayo, with organisational insights from Orla Henihan (Linenhall Arts Centre), John McHugh (Custom House Gallery), Ronan Halpin (Achill Artists Group) and Edward King (Heinrich Böll Residency). In addition, artists Norah Brennan, Breda Burns and Saoirse Wall discuss the realities of maintaining an arts practice in the region.

Reviewed in the Critique section are: ‘Infrastructures of Now’ at NCAD Gallery; Maud Cotter at Limerick City Gallery of Art; ‘Manmade’ at Millennium Court Arts Centre; Tomas Penc at Triskel Christchurch; and Chris Doris at The Model.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

In columns for this issue, Sarah Durcan outlines her ongoing research project, ‘The Memory-Image’, as well as a related screening event at the Irish Film Institute in January. Sara Greavu discusses the evolution of CCA Derry’s dedicated reading group, booksvscigarettes, which aims to bring concentration and care to a range of texts, through the attentive act of communal reading. The Skills Column for this issue comes from James L. Hayes, who discusses experimental casting processes, technologies and materials, as well as the most recent iteration of his ongoing ‘Iron-R’ project. Reflecting on the many uncertainties currently facing artists in Northern Ireland, VAI NI Manager Rob Hilken outlines the challenges of the new social security payment, Universal Credit.

This issue features several interviews with artists whose exhibitions are currently showing nationally or internationally. Joanne Laws interviews Nick Miller about the evolution of his painting practice and his exhibition, ‘Rootless’ – currently showing at Art Space Gallery in London – while Chris Hayes speaks to Grace Weir about her current exhibition, ‘Time Tries All Things’, at The Institute of Physics, London. Both exhibitions run until the 29 March, Brexit day, after which time the shipping of artworks to and from the UK is likely to become more complicated. In addition, Andrea Neill interviews Martina Coyle about her upcoming exhibition, ‘Paradise Is Too Far’, which will open on 30 March at Áras Inis Gluaire Gallery, Belmullet, County Mayo.

Recent Sligo IT graduate, Hazel McCrann, discusses her art practice and her recent show, ‘Peripheral Visions’, which ran at the Hyde Bridge Gallery, Sligo, as part of her Graduate Solo Exhibition Award. Melissa O’Faherty and Kiera O’Toole explain the evolution of the Irish contemporary drawing collective, Drawing de-Centred, while Tobi Maier discusses his recent curatorial residency at The Glucksman and his stay in Carraig-na-gcat, County Cork. In her extended essay, entitled ‘Seeing the Light’, Renata Pekowska reflects on several recent exhibitions across Ireland dedicated to the medium of light. In the Artist Publishing section, Annabel König discusses two of her recent publications, which use Maslow’s ‘Hierarchy of Needs’ as a point of departure.

The Regional Focus for this issue comes from Cork city, with profiles from: The Glucksman; Crawford Art Gallery; Backwater Artists Group; National Sculpture Factory; and Cork Artists Collective and The Guesthouse. Recent CIT graduate, Ciara Rodgers, outlines her research, as part of the MA Art & Process (MA:AP), and Cork-based artists Ailbhe Ní Bhrian and Darn Thorn discuss their recent work.

As ever, we have reviews of recent exhibitions, details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

This issue includes a brief focus on prominent national art collections. Discussing the 60-year evolution of the Niland Collection, Emer McGarry, Director of The Model, highlights collecting and ‘keeping’ as active investments in building ‘living repositories’ of thoughts and ideas. As the Arts Council of Northern Ireland launches its new Art Lending Scheme, Suzanne Lyle, Head of Visual Arts, discusses their contemporary collection. Similarly, Eamon Maxwell offers insights into the evolution of the Arts Council of Ireland Collection, which was established in 1962. VAI NI Manager, Rob Hilken provides an overview of art collections in Northern Ireland.

Several feature articles focus on recent or ongoing archival projects. Val Connor and Dorothy Hunter offer insights into ‘The Long Goodbye’ – an exhibition focusing on the late 1990s as a pivotal stage in the 50-year history of Project Arts Centre. In a similar recollective vein, Christina Mullan profiles the Stephen McKenna retrospective, currently showing at VISUAL Carlow, while Pádraic E. Moore discusses the cultural nostalgia underpinning ‘The Last Great Album of the Decade’, a group exhibition at The LAB Gallery, Dublin. In addition, Vukašin Nedeljković discusses his ongoing project, Asylum Archive, which documents Ireland’s Direct Provision system.

We are delighted to publish a review by Lily Cahill, winner of the VAI/DCC Art Writing Award 2019, which offers vibrant reflections on Michelle Doyle’s exhibition, ‘Obedient City’ (13 – 23 September 2017), at A4 Sounds Gallery, Dublin. Also in this issue, Jonathan Carroll speaks to artist Eva Rothschild, who will represent Ireland at the 58th International Venice Biennale (11 May – 24 November 2019).

In other feature articles, artist Karen Hendy reflects on her recent residency at Siamsa Tíre, while Aidan Kelly Murphy speaks to a group of artists who have created a temporary studio space in north inner-city Dublin. Julia Moustacchi discusses the benefits of Visual Thinking Strategies for Irish galleries, while Denis Farrell describes the evolution of Lodestar School of Art, an alternative summer residency in Glenstal Abbey.

The Regional Focus for this issue comes from County Westmeath, with profiles from Luan Gallery, Chimera Art Gallery, Shambles Art Studios. Westmeath-based artists Celine Sheridan and Liz Johnson discuss their recent work.

Reviewed in the Critique section are: Sam Reveles at Butler Gallery; Anita Groener at The Dock; Geraldine O’Sullivan at Uillinn: West Cork Arts Centre; Walker and Walker at IMMA; and ‘MAKing Art: The PAINTing Exhibition’ at Draíocht.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

For VAN’s summer issue, Joanne Laws and Alan Phelan provide thematic appraisals of the 58th Venice Biennale, while Pamela Lee reports from Art Basel and VOLTA Basel art fairs.

This issue includes a number of timely interviews with artists and curators. Chris Clarke speaks to Richard Proffitt about his recent installation, May the Moon Rise and the Sun Set, for Cork Midsummer Festival, and Paul McAree interviews Niamh O’Malley, whose exhibition is currently showing in St Carthage Hall, as part of the Lismore Castle Arts programme.

Pádraic E. Moore speaks to Annie Fletcher, who has recently been appointed as the Director of the Irish Museum of Modern Art, while Philip Kavanagh interviews Rua Red Director Maolíosa Boyle about the organisation’s recent exhibitions and collaborations. Manuela Pacella also interviews Paul O’Neill about his curatorial practice and his artistic directorship at PUBLICS in Helsinki.

Also focusing on the Finnish art scene, Jonathan Mayhew reports from Helsinki, about his experiences taking part in the TBG+S and HIAP International Residency Exchange. Similarly, Lucy Andrews reports from her recent residency and exhibition at Leitrim Sculpture Centre, while Ian Wieczorek contextualises his latest exhibition, ‘Transgress’, at Ballina Arts Centre.

In columns for this issue, Sarah Lincoln discusses research recently undertaken by The Mothership Project. In two fascinating Skills columns, contemporary textile artist Laura Angell discusses the Bargello embroidery technique, while Cornelius Browne provides insights into the practicalities of painting outdoors.

Insights into arts engagement are also provided by Jan Powell, who explores the processes of artistic collaboration, and Ann Quinn, who profiles her ongoing masterclasses in painting and printmaking. We also hear from our VAI Northern Ireland Manager, Rob Hilken, who reports on the artist talks and panel discussions, held as part of the VAI Get Together 2019, which took place on 14 June at TU Dublin Grangegorman.

The Regional Focus for this issue comes from Derry City, with profiles from Art Arcadia, Clarendon Studios, Nerve Gallery and CCA. Derry-based artists James King and Gail Mahon also discuss their practice and recent work.

Reviewed in the Critique supplement are: Hannah Fitz at Kerlin Gallery; Karen Daye-Hutchinson at ArtisAnn Art Gallery; ‘See you tomorrow’ at Sirius Arts Centre; ‘Social Commons’ at Liberty Hall; and ‘A Visibility Matrix’ at Void Gallery, Derry.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: www.visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. VAN’s 2019 themed issue focuses on contemporary Irish photography and moving image, probing the expanded parameters of each medium in the digital age. With an abundance of image-making technologies now readily at hand within our daily lives, this issue considers how static and moving images are created, disseminated, consumed and stored. In technical terms, it has never been easier to produce images; however, some argue that with the plenitude of media now available, it is becoming harder to create images that are culturally relevant or interesting.

As evidenced throughout this issue, such inquiries manifest in current artistic practice through rejections or subversions of digital technologies. This includes a resurgence of analogue production and presentation formats, leading to the creation of deliberately flawed images, which sit in opposition to the ‘non-reality’ fostered by digital post-production. In addition, many artists are engaged in a ‘reassertion of objecthood’, often involving the assemblage of pre-internet material, including printed matter, found photographs or archival footage. This, in turn, creates physical repositories of knowledge, with the space of the exhibition – characterised by non-linear, sculptural or immersive installations – being pivotal to encounters with lens-based work.

Central to this themed issue are interviews with artists at various career stages, who work with photography – namely Roseanne Lynch, Darn Thorn, Róisín White, Dragana Jurišić, Ciarán Óg Arnold, Locky Morris, Vera Ryklova and Fanfa Otal Simal – as well as artists working predominantly with moving image, such as Gerard Byrne, Clare Langan, Myrid Carten, Eoghan Ryan, Emily McFarland, Bassam Al-Sabah, Frances Hegarty & Andrew Stones, Kevin Atherton and Atoosa Pour Hosseini.

This issue features two specially-commissioned essays: Alice Butler provides a survey of contemporary Irish moving image practice; while Justin Carville outlines the significance of ‘place’ in Irish photography. This issue also profiles Irish organisations, such as the production facilities, The Darkroom and Digital Arts Studios, and the Gallery of Photography Ireland. Recent film screenings are profiled – namely ‘Snapshots’ at Dingle International Film Festival and aemi’s recent touring film programme, curated by Sarah Browne – as well as prominent photography and moving image exhibitions, including: ‘The Parted Veil’ at The Glucksman; ‘New Irish Works 2019’ at PhotoIreland Festival; and ‘Screentime’ at the Green on Red Gallery.

Offering archival perspectives, Fifi Smith outlines the evolution of the MExIndex, a database of Irish moving image works, while Seán Kissane discusses the David Kronn photographic collection, gifted to IMMA. Dialogue surrounding photographic and moving image practice is fostered through contributions from John Duncan, editor of Source Photographic Review, and University of Ulster lecturer, Clare Gallagher, who discusses her practice-based PhD.

As ever, we have details of the upcoming VAI Professional Development Programme, exhibition and public art roundups, news from the sector and current opportunities.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

The Visual Artists’ News Sheet (VAN ) is the primary all-Ireland information resource for visual artists. The final issue of 2019 profiles a range of significant projects including: Dorothy Cross’s recent performative event, Heartship; Sinead McCann’s socially-engaged project, film and touring exhibition, The Trial; and Eimear Walshe’s recent commemorative project, commissioned by Roscommon County Council. In addition, Ailve McCormack visits current Turner Prize 2019 nominee, Tai Shani, in her studio at Gasworks, London.

Shifting our focus to the island of Syros in Greece, Christopher Steenson, reports on the site-specific sound residency, Sounding Paths 2019, which he attended in July, while Andrew Duggan discusses his presentation of unravel_rios at Eye’s Walk Digital Festival. In other festival profiles for this issue, Chris Clarke discusses his highlights from Middleborough Art Weekender 2019, and Sandra Corrigan Breathnach reports on ‘Somatic Distortion’, a two-day performance art event that took place across the town of Manorhamilton.

This issue features a broad range of interesting columns, including reviews of two recently published books: Sarah Pierce looks at Reclaiming Artistic Research; while Astrid Newman offers an appraisal of Curating After the Global: Roadmaps for the Present. Skills Columns by Cornelius Browne and Fiona O’Dwyer outline the logistics of outdoor winter painting and bronze age casting techniques respectively. In addition, Matt Packer introduces a new series of columns, addressing the concept of internationalism within current curatorial discourse.

Following recent queries from VAI members about artist catalogues raisonnés and GDPR protocol, we invited contributions from Toby Treves (International Catalogue Raisonné Association), Carl Schmitz (Catalogue Raisonné Scholars Association) and David Murphy (Data Protection Commission), who each offer a range of practical guidelines for artists on these subjects.

The Regional Focus for this issue comes from County Wexford, with insights from Cow House Studios, Geordie Gallery, Wexford Arts Centre and Wexford Arts Office. Visual artists local to and originating from the Wexford region, such as Julia Dubsky, Aileen Murphy, Helen Gaynor and Nadia Corrdian also reflect on the evolution of their respective practices.

Reviewed in the Critique Supplement are Sarah Long at Studio 12, Backwater Artists Group; Joanne Boyle at Mermaid Arts Centre; Claire Halpin at Olivier Cornet Gallery; David Bickley at Uillinn: West Cork Arts Centre; and ‘Open Minds’ at Rua Red.

As ever, we also have details of upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and current opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

The January – February 2020 issue of The Visual Artists’ News Sheet is out now. The first issue of 2020 introduces Visual Artists Irelands’s new discursive programme, ‘VAN Chats’, which aims to further emphasise our publishing activities through a series of public talks and events. Following a screening event at Project Arts Centre organised by VAI, Lívia Páldi interviews artist Kader Attia about his research and practice. Also in this issue, Joanne Laws interviews Kunstverein Braunschweig curator Raoul Klooker, ahead of group critique workshop and talk on queer artistic practices, which takes place on 7 February at Visual Artists Ireland’s Dublin office.

Continuing his column on plein air painting, Cornelius Browne reflects on what the New Year can bring, both in life and in painting. In his ongoing column, dealing with the subject of internationalism, Matt Packer considers the distributive powers of art world communication, while Emer Lynch reflects on ‘No Longer Peripheral’ – a screening event and symposium organised by aemi. On the subject of artist publishing, Bryan Hogan discusses the themes underpinning his recent photo book, From Where the Heart Is (2019), while Jo Melvin discusses ‘Publication Scaffold’ – a series of talks and events she organised (in collaboration with Irish artists Michelle Horrigan and Sean Lynch), as part of Temple Bar Gallery + Studios’ Dublin Art Book Fair 2019.

This issue features three festivals profiles. Offering a glimpse of the international scene, Logan Sisley reviews the Singapore Biennale 2019. In the Irish context, Hilary Morley reviews Galway’s TULCA Festival of Visual Arts 2019 and we also hear from some of the artists developing new work for the 39th EVA International as part of the biennale’s Platform Commissions. In other feature articles, Susan Thomson profiles the work of the Belfast art collective Array at Jerwood Arts in London; Aidan Kelly Murphy interviews Marysia Wieckiewicz-Carroll about the evolution of Berlin Opticians Gallery; while artists Sarah Browne and Vanessa Daws each reflect on their recent public art projects.

The Regional Focus for this issue comes from County Offaly, with insights from Birr Theatre & Arts Centre and Offaly Arts Office, as well as visual artists Julie Spollen, Brendan Fox, Veronica Nicholson, Micheál O’Connell and Claire Guinan, who each reflect on the evolution of their respective practices.

Reviewed in the Critique Supplement are ‘Over Nature’ at Rathfarnham Castle; Eoin McHugh at Kerlin Gallery; ‘Scaffold’ at The Bomb Factory Art Foundation; Camille Souter at Custom House Studios Gallery; and Doireann Ní Ghrioghair at Pallas Projects/Studios.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and listings of current artist opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

We are thrilled to present VAN 100 – the 100th issue of The Visual Artists’ News Sheet – which coincides with the 40th anniversary of Visual Artists Ireland this year. For these reasons, we are celebrating the organisation’s origins in sculpture, with this special issue. Central to VAN 100 is a specially commissioned survey, Four Decades of Irish Sculpture, profiling significant sculptural works from the last 40 years.

In addition, we present a series of Artist Interviews between artists at different career stages, with the aim of generating expanded discussion on the nature of Irish sculpture. Offering insights into their working methods, research and materials are conversations between Katie Watchorn and Matt Calderwood; John Rainey and Janet Mullarney; Aoibheann Greenan and Andrew Kearney; Jane Fogarty and Isabel Nolan; Sam Keogh and Anne Tallentire; Avril Corroon and Kathy Prendergast.

This issue also features profiles of some of the country’s main Sculpture Centres and an extensive series of Columns. Paula Murphy outlines Ireland’s main sculpture collections, while Karen Downey introduces the upcoming Sculpture Dublin programme. We also have archival insights from NIVAL and the Barry Flanagan Estate, while current postgraduate research is discussed by Chloe Austin and Audrey Walshe.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, recent exhibitions, public art roundups, news from the sector and listings of current artist opportunities.

Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres.

Selected articles featured in the print edition are available at the Visual Artists’ News Sheet Online here: visualartistsireland.com

The May/June 2020 issue of The Visual Artists’ News Sheet has been dispatched to VAI members nationwide. Given that all our gallery distributors remain closed, many of the articles have been archived on the VAN website (links below).

This issue was assembled remotely, with the editorial remit responding to the rapidly shifting scenario, as contributors began to frame their observations through the lens of the global pandemic.

On the May/June front cover is Áine Phillips’s recent exhibition, ‘Buttered Up’, at MART Gallery. This iconic image conveys the prescient realities of domestic entrapment that we are now enduring. Ensconced in a sink as ‘absurd hostess’, Philips greeted audiences by extending a buttery hand, with writer Katherine Nolan commenting on the “intimacy of the handshake, now under scrutiny since the introduction of social distancing measures”.

In a similar vein, reflecting on the comparative freedom of global travel that we enjoyed only a few weeks ago, Lívia Páldi describes the week she spent at the Dhaka Art Summit 2020 in mid February, as feeling like both a “mirage” and a “rare privilege”, in light of subsequent global restrictions and the “rush towards digital space.”

Among columns for this issue, Matt Packer presents a rejoinder to his ‘Internationalism’ series, outlining the impacts of COVID-19 on artistic mobility and the dissemination of work. Declan McGonagle describes the socio-economic impacts of the ‘selfish state’, while Ceara Conway discusses how the current scenario is affecting the mental health of artists.

The May/June issue also features a range of exhibition and project profiles: Anne Mullee speaks to artist Tom Flanagan about his ‘Folk Radio’ project in County Clare; Padraig Spillane reviews ‘Many voices, all of them loved’ at the John Hansard Gallery in South Hampton; Anne Tallentire and Chris Fite-Wassilak describe the development of hmn – a quarterly sound-based test centre event, running in various venues across London since 2015; while Valerie Byrne and Dobz O’Brien outline the evolution of the National Sculpture Factory.

In the May/June Critique Section, Colin Darke reviews ‘Dissolving Histories: An Unreliable Presence’ at Golden Thread Gallery; Alison Pilkington reviews Mairead O’hEocha at Temple Bar Gallery + Studios; while Emer Lynch reviews Vivienne Dick’s ‘New York Our Time’ and Ciara Nic Chormaic’s ‘Skin+Soul’ at Dublin International Film Festival.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, public art roundups, news from the sector and listings of current artist opportunities.

Read articles on Visual Artists’ News Sheet website here: visualartistsireland.com

Over the last few months, the livelihoods of artists have been catastrophically affected by the unprecedented public health restrictions, undertaken to protect against the spread of COVID-19. The closure of all cultural venues has resulted in the cancellation or postponement of thousands of exhibitions and events across Ireland.

VAN’s July/August issue features profiles from numerous VAI members at different career stages, working across a diverse range of media, who discuss the realities of maintaining an art practice during a global pandemic. This section, titled ‘Notes From Lockdown’, highlights how many VAI members have been unable to access their studios, workspaces or materials during this period, whilst others have rejected the prevalent impulse of ‘hyper-productivity’, instead using this period of isolation to archive or revisit older works, and to critically reflect on their artistic methods and trajectories.
Another core thematic strand of our summer issue is ‘The Unseen Shows’, a series of profiles on selected exhibitions that have been cancelled, postponed, or sealed behind closed doors over the last few months. In early April, we launched a podcast series of the same name, which is being published every two weeks on SoundCloud until late July and available on the website. These podcasts feature interviews with several artists whose exhibitions have been affected by the lockdown. As an interim project, the podcast format seems to suit the confined conditions of lockdown, whilst fundamentally highlighting the pace and sensibility of the act of listening.

In a related project, VAN’s Production Editor, Christopher Steenson, has recently been working on VAI’s Get Together audio archive, which includes recordings of various talks, panel discussions and keynote presentations that have taken place at Get Together events between 2017 and 2019. Many of these recordings are now available to listen to on SoundCloud, as well as in the Members’ Area of the VAI website. We hope that having access to these recordings will help fill the void left by the cancellation of this year’s Get Together, which was due to take place on 12 June.

At the time of writing, many commercial galleries across the Republic of Ireland have begun the process of reopening to the public, having been closed since 12 March. All going to plan, most commercial galleries, public galleries, art centres and artist-led spaces nationwide will reopen in some capacity by the end of July. As VAN’s editorial team continue to work remotely, we wish to extend best wishes to our colleagues in the sector. We look forward to reviving physical encounters with art over the coming months, whatever form this may take.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, public art roundups, news from the sector and listings of current artist opportunities.

Read articles on Visual Artists’ News Sheet website here: visualartistsireland.com

On the Cover:
Mieke Vanmechelen & Jennifer Redmond, Catastrophe, 2020, coloured black and white still; image © mink 2020, courtesy of the artists.

The September / October 2020 issue of the VAN has arrived and been dispatched to members and arts organisations. As countries around the world continue to grapple with the shifting realities of COVID-19, the impact on the cultural sector is resonating far and wide. Thousands of museum and heritage jobs have already been lost in the UK and in the US, in a bid to offset looming deficits caused by the extended organisational closures. Coupled with the recent activism surrounding the Black Lives Matter campaign – which brought about the dismantling of problematic public monuments and their contentious histories – such instability provides a backdrop for current critical debate surrounding the shifting role of institutions in times of crisis. At the time of writing, the International Council of Museums continues its efforts to revise their working definition of a museum, which has not changed in almost 50 years. Opinions remain divided on whether institutions should be places that research, conserve and exhibit artifacts, or ones that actively engage with wider society in working towards global change.

Irish institutions are also finding ways to redefine their roles in the COVID-19 landscape, particularly with regard to audience engagement. On 30 July, NCAD Gallery convened an online event, titled ‘The Air We Breathe: Multiple Publics in Future Practice’, which focused on “social engagement in the age of social distance”. This fascinating panel discussion highlighted an urgent need for innovation in the sector, calling for diverse strategies for working with artists, assembling communities around projects, and creating physical presentations in the public realm, beyond artworks simply being “displaced into the online sphere”, which “prohibits conjunction”. Reasserting Arundati Roy’s analogy of the “pandemic as a portal” – which asked us to consider what we might bring with us, and what we might leave behind – Ailbhe Murphy (Director of CREATE) suggested that we need to think ambitiously about “recasting an infrastructure” within the Irish arts ecology. This includes reassessing the distribution of resources and the publicness of gallery spaces, while also questioning the validity of metrics as a way of attributing value to institutions.

Following a similar line of inquiry, Matt Packer’s column for this issue outlines the collective concerns of Ireland’s Strategically Funded Organisations. In addition, several feature articles describe how festivals and biennales are having to adapt to ongoing public health restrictions surrounding mass gatherings. Miguel Amado interviews Marie Brett about Day of the Straws, a work which draws upon the cholera pandemic of the 1830s to explore the experience of COVID-19 through ancient and contemporary cultural lore. Matt Packer also interviews Merve Elveren, guest programme curator for the 39th Eva International, about the pragmatic and curatorial challenges for the biennale, which will now be delivered in three phases, with the first phase opening on 18 September and continuing until 15 November.

The September / October 2020 issue of The Visual Artists’ News Sheet (VAN) has been dispatched to VAI members nationwide. Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres. You can also read articles on Visual Artists’ News Sheet website.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, public art roundups, news from the sector and listings of current artist opportunities.

On The Cover: Marie Brett, Day of the Straws, photograph; courtesy the artist.

The post Out Now | September / October Issue of the Visual Artists’ News Sheet first appeared on Visual Artists Ireland.

The November / December 2020 issue of the Visual Artists’ News Sheet (VAN) has arrived and been dispatched to members and arts organisations. With the ongoing closure of all cultural venues nationwide (due to Level 5 public health restrictions, aimed at slowing the spread of COVID-19) once again galleries are having to find ways to supplement, extend or archive their exhibition programmes across a range of digital platforms. VAN’s November – December issue considers the pragmatic, conceptual, aesthetic and institutional benefits and challenges of these virtual and screen-based presentations – displaced from physical encounters and no longer dependant on bodily proximity.

The competition brief for the DCC/VAI Art Writing Award 2020 drew on current critical debate surrounding online exhibitions, with writers invited to consider whether this curatorial model, without significant precedent, is an alienating or democratising force for the presentation of art. Applicants responded to the complexity of the brief in diverse and interesting ways. Meadhbh McNutt’s winning essay is published in this issue, outlining the scope of current discourse and potential innovations in artistic practice.

Also in this issue, Matt Packer considers the proliferation of screen-based art as an important opportunity to reimagine the functionality and form of exhibitions. For the first time, VAN’s Critique section includes remote coverage of two online exhibitions, namely ‘Not Alone’ – a travelling exhibition of small-scale works, initiated by Golden Thread Gallery and disseminated via social media – and ‘Drawn From Borders’, a 3D virtual gallery, developed by Artlink in Donegal. Also reviewed in the November/December Critique section are: Sinéad Mi Mhaonaigh at The Dock; ‘The Sea Around Us’ at The Model; and Bernadette Doolan at GOMA Waterford.

Several regional exhibitions are also profiled in this issue, including: Austin McQuinn at The Source Art Centre; the ‘Connection’ project at Droichead Arts Centre; Orla Whelan at Rathfarnham Castle (Dublin); and ‘6’ group exhibition in Kilfane Glebe House Studio, Thomastown, which also coincides with the Regional Focus on County Kilkenny.

This issue also features coverage of several recent or ongoing festivals: Joanne Laws interviews Sarah Browne, Curator of TULCA Festival of Visual Arts 2020; Joanne also reports on key projects commissioned for Galway 2020 European City of Culture; while Theo Hynan-Radcliff reviews phase one of the 39^th Eva International. In addition, curator Alissa Kleist outlines various artistic projects realised as part of the Freelands Artist Programme.

In the last issue of 2020, we are profiling several Irish organisations who have been celebrating milestone anniversaries this year, namely 25 years of Hillsboro Fine Art and 30 years of Backwater Artists Studio.

The November / December 2020 issue of The Visual Artists’ News Sheet (VAN) has been dispatched to VAI members nationwide. Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres where possible. You can also read articles on Visual Artists’ News Sheet website.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, public art roundups, news from the sector and listings of current artist opportunities.

On The Cover: Eimear Walshe, The Land Question, 2020, courtesy the artist and EVA International.

Happy new year! After a difficult year, we hope you all enjoyed a peaceful festive season. The January-February 2021 issue of the Visual Artists’ News Sheet (VAN) has arrived and been dispatched to members and arts organisations. This issue has a broad thematic focus on artist-led practice, with timely profiles on various DIY projects, artist collectives, residencies, workspaces and other infrastructure.

As well as profiling various artist-led studios (including The Complex, Atelier Maser, Graphic Studio Dublin, spacecraft and Vault) we also hear from NINE, Angelica and Na Cailleacha – collectives and networks established during lockdown to enhance visibility and provide peer support for artists.

This issue also explores several experimental artist-led projects taking place outside the gallery and largely disseminated via social media. John Busher discusses ‘Sift’, a painting exhibition on the grounds of Wilton Castle in Wexford; while Rachel McIntyre interviews Eleanor McCaughey and Richard Proffitt about their temporary exhibition in East Wall, Dublin, titled ‘What Remains of This Place?’ Also in this issue, Róisín Foley discusses the artist-led residency, Oileán Air 2020 on Cape Clear Island, which recently hosted artists Brigid O’Dea, Vicky Langan and Noah Rose. We also hear from the students of NCAD’s second year MFA programme about their recent exhibition, ‘We Are Solitary’, which was installed at Rua Red Gallery in Tallaght, Dublin, in November 2020.

Among Career Development profiles, we hear from three Irish artists working across various disciplines – Aoife Dunne, Pascal Ungerer and Kevin Francis Gray – who offer insights into the progression of their practices to date. In columns for this issue, Miguel Amado discusses curating as civic practice, while Art Writing Award-winner, Meadhbh McNutt, reflects on her recent workshop at CCA Derry~Londonderry, titled ‘Should Artists Write?’ In addition, Albert Weis discusses ‘The border’ – a group exhibition featuring several Irish artists at Deutscher Künstlerbund, Berlin, which considered the historic legacy of the Troubles, while reflecting upon current restrictions and insecurities in the context of looming Brexit.

In October and November 2020, galleries and museums were closed to the public, with no guarantee of reopening before Christmas. For this reason, we were reluctant to commission our usual series of exhibition reviews. Therefore, the Critique section for this issue focuses on art books recently published in Ireland, with reviews of: Small Town Portraits; Winter Papers, Volume 6; Curriculum: Contemporary Art Goes to School; Everything is Somewhere Else; and Art Ireland and the Irish Diaspora. This timely focus on art publishing resonates with the highly successful tenth edition of the Dublin Art Book Fair at TBG+S (23 November — 06 December 2020), which is discussed in Renata Pekowska’s profile on artists’ books.

The January-February 2021 issue of The Visual Artists’ News Sheet (VAN) has been dispatched to VAI members nationwide. Members of VAI receive a copy of the VAN delivered straight to their door. The VAN is also available to pick up free of charge in galleries and arts centres where possible. You can also read articles on Visual Artists’ News Sheet website.

As ever, we have also have details on upcoming VAI Lifelong Learning workshops, public art roundups, news from the sector and listings of current artist opportunities.

On The Cover:Louis Haugh, Or like a matchstick, 2020; photography © and courtesy the artist

The VAN Podcast is a new podcast series from Visual Artists Ireland, hosted by Joanne Laws, Features Editor of the Visual Artists’ News Sheet (VAN).

Published every two months, The VAN Podcast comprises online conversations, recorded remotely, with various contributors to each issue of the VAN. This gives opportunities to discuss some of the ideas arising from their published texts, while also offering insights into their wider practice.

Episode 1 features interviews with Cornelius Browne and Frank Wasser both of whom contributed columns for the November – December 2020 issue of The Visual Artists’ News Sheet.

Cornelius Browne is a Donegal-based artist whose practice has cultivated a devotion to plein air painting. As a regular contributor to VAN, Cornelius has beautifully articulated the seasonal fluctuations of painting outdoors, as well as exploring the many practical, theoretical and materials concerns in his work. His most recent column for VAN is titled Nocturnes, and focuses on his impulse to paint outdoors at night.

Frank Wasser is an Irish artist and writer who lives and works in London. He is a lecturer and art educator at Tate Modern and a PhD candidate at The Ruskin School of Art, which is the Fine Art Department of the University of Oxford. Frank’s column for the November – December issue is called ‘Word Upon Word Upon Fallen Word’ and traces the art historical significance of text-based art in the practice of American conceptual artist, Lawrence Weiner.

Visual Artists Ireland · The VAN Podcast – Episode 1: Cornelius Browne & Frank Wasser

These podcast interviews are also available on Soundcloud, the Visual Artists News Sheet Online and in the Members Area of the VAI website.

About VAN:
The Visual Artists’ News Sheet (VAN) is the primary all-Ireland information resource for visual artists presenting case study articles on all aspects of the lives of professional artists, alongside features offering critical reflection and analysis of relevant aspects of the art world in Ireland and internationally. The Visual Artists’ News Sheet reports and reflects upon the broadest possible range of issues relevant to Irish visual artists across Ireland. The Visual Artists’ News Sheet is also committed to giving coverage to the diversity of contemporary Irish visual arts practice in terms of media, generation and geography. The Visual Artists’ News Sheet’s inclusive remit encompasses artists working in traditional and contemporary modes; established and emerging artists; artists who are based throughout the Republic of Ireland and Northern Ireland.
visualartistsireland.com/

The VAN Podcast is a podcast series from Visual Artists Ireland.

Published every two months, The VAN Podcast comprises online conversations, recorded remotely, with various contributors to each issue of The Visual Artists’ News Sheet. This gives opportunities to discuss some of the ideas arising from published texts, while also offering insights into wider practice.

Episode 2 features interviews with Kiera O’Toole, as well as Jane Morrow and Moran Been-noon, who each contributed to the January-February 2021 issue of VAN.

Kiera O’Toole is a Sligo-based artist, a PhD candidate at Loughborough University, and cofounder of Drawing deCentred – an artist-led collective that explores contemporary drawing practice in Ireland. Her recent profile for VAN focuses on NINE – a new collective of 8 women artists, formed during lockdown.

Jane Morrow is an independent visual art curator and researcher based in Belfast, whose ongoing PhD research examines the precarity of artists’ studios and workspaces. Moran Been-noon is an Israeli, Dublin-based curator, artist and writer, who is currently Curator-in-Residence at glór in Ennis. In 2020, Jane and Moran established the Angelica Network, which was profiled in the January-February issue of VAN.

Visual Artists Ireland · The VAN Podcast – Episode 2: NINE Artist Collective & The Angelica Network

These podcast interviews are also available on Soundcloud, the Visual Artists News Sheet Online and in the Members Area of the VAI website.

About VAN:

The Visual Artists’ News Sheet (VAN) is the primary all-Ireland information resource for visual artists presenting case study articles on all aspects of the lives of professional artists, alongside features offering critical reflection and analysis of relevant aspects of the art world in Ireland and internationally. The Visual Artists’ News Sheet reports and reflects upon the broadest possible range of issues relevant to Irish visual artists across Ireland. The Visual Artists’ News Sheet is also committed to giving coverage to the diversity of contemporary Irish visual arts practice in terms of media, generation and geography. The Visual Artists’ News Sheet’s inclusive remit encompasses artists working in traditional and contemporary modes; established and emerging artists; artists who are based throughout the Republic of Ireland and Northern Ireland. visualartistsireland.com

Array Collective, Pride, 2019; photograph by Laura O’Connor, courtesy Array and Tate Press Office.

VAN’s summer issue has just been despatched to arts organisations and VAI members nationwide, while the digital version is now available for subscribers in the members’ area of the VAI website.

To mark the much-anticipated reopening of galleries, museums and art centres, we have compiled a Summer Gallery Guide to inform visual art audiences about forthcoming exhibitions happening in July and August across Ireland and Northern Ireland. This guide is published on the VAN website here.

We are thrilled to resume coverage of exciting and timely exhibitions in VAN’s summer issue. Colin Darke reviews ‘Sorry, Neither’ at the Naughton Gallery, as well as ‘Somnyama Ngonyama’ – the first solo exhibition of renowned South African photographer, Zanele Muholi, on the island of Ireland, which was presented in partnership with Belfast Photo Festival 2021. Matt Packer interviews Iranian-Irish filmmaker, Rouzbeh Rashidi, founder of the Experimental Film Society, marking its 20^th anniversary this year with a new publication and the exhibition, ‘Luminous Void’, at Project Arts Centre.

In addition, reviewed in the Critique section are: Sheila Rennick at Kevin Kavanagh; Fiona Hackett at RHA Ashford Gallery; ‘Light and Language’ at Lismore Castle Arts; ‘Home: Being and Belonging in Contemporary Ireland’ at The Glucksman; and Richard Moss at Butler Gallery.

This issue features an interview with members of Belfast-based art collective, Array, following their nomination for the Turner Prize 2021, along with four other UK collectives. Another significant development within the Irish visual arts community is outlined in Susan Campbell’s report on the million-euro acquisition fund (supported by the Department for Tourism, Culture, Arts, Gaeltacht, Sport and Media) through which 422 artworks by 70 artists have been added to the National Collection of IMMA and Crawford Art Gallery.

Among other profiles for this issue, Claire-Louise Bennett and Ruby Wallis continue their collaborative project, Brian Fay interviews Michael Geddis and Joanna Kidney about their long-running collaborative drawing project, Rachel Botha outlines recent developments in her curatorial practice, while Joanne Laws interviews Ciara Roche about the evolution of her painting practice. Residency coverage for this issue includes Rosie McGurran’s text on the Inishlacken Project, celebrating its 20^th anniversary this year, and Bryan Gerard Duffy’s report on his experience of the inaugural Bolay residency in the Linenhall Arts Centre.

In columns for this issue, Cornelius Browne reflects on the enduring legacy of painter, Joan Eardley, whom he refers to as the ‘patron saint’ of plein air painting, and Mel French discusses her recent training in silicone casting with model-maker, Paul McDonnell.

This issue includes a Regional Focus on County Donegal, with insights from Jeremy Fitz Howard, Acting Manager, Regional Cultural Centre; Martha McCulloch, Coordinator, Artlink; and Jean Kearney, Head Guide at Glebe House and Gallery. In addition, artists Laura McCafferty, Myrid Carten and Paul Hallahan offer insights into the realities of maintaining a visual art practice in the county.

Anna Spearman, ‘Loose Parts’, installation view, Roscommon Arts Centre; photograph by Dickon Whitehead, courtesy the artist and Roscommon Arts Centre.

In celebration of physical encounters with art – and the role of writing in recording these experiences – this issue focuses almost exclusively on the many interesting and vibrant exhibitions taking place around the country over the last few months.

Among numerous Exhibition Profiles, Mary Flanaghan interviews artist Anna Spearman about her recent solo show, ‘Loose Parts’ at Roscommon Arts Centre; Dr Yvonne Scott reflects on Mary-Ruth Walsh’s touring exhibition, ‘SKIN DEEP’; and Davey Moore outlines the recent group show, ‘Double Estate’ at the Pearse Museum, presenting works from the OPW State Art Collection.

In addition, Jane Morrow reviews the recent exhibition series, ‘Mediating Signals’ at Flax Art Studios, curated by Edy Fung; Luan Gallery outlines the thematic inquiries of their current show, ‘Queer As You Are’; Sinéad Keogh discusses the curatorial inquiries underpinning ‘I Am What I Am’ at Ballina Arts Centre; and Dr Barbara Dawson reflects on the 20th anniversary of the Francis Bacon Studio project.

Among festival coverage in this issue, Michael Hill’s column considers the resonance of large-scale international art exhibitions like the Venice Biennale, Jennifer Redmond reviews the visual art programme of Cork Midsummer Festival 2021, and Gwen Burlington considers some of the artworks presented during the second phase of EVA International.

Reviewed in the Critique section are: ‘Sweeny’s Decent’ at An Táin Arts Centre; ‘A Conversation Ensued, Nobody Said A Word’, a two-person show with Colin Darke and Yvonne Kennan at Belfast Exposed; Claire Murphy, ‘Here is Where I Am’ at South Tipperary Arts Centre; ‘The Loneliness of Being German’, a two-person show with Vera Klute and Thomas Brezing at Limerick City Gallery of Art; and ‘The Maternal Gaze’, an online screening programme at IMMA.
In Cornelius Browne’s latest Plein Air column, ‘The Painters in The Trees’, he reflects on painting with his children close to home, while Miguel Amado discusses collections, colonial legacies and ‘art from elsewhere’. John Graham outlines key aspects of his drawing process in his skills column, and Ann Quinn discusses her recent paintings, to be shown in a forthcoming solo exhibition at Taylor Galleries.

VAI member profiles include Carolann Courtney’s interview with John Conway about his durational and multi-disciplinary art practice, and Ingrid Lyons’s reflection on two recent installations by Liliane Puthod.

The Regional Focus for this issue comes from County Waterford, with organisational insights from Síle Penkert (Executive Director, Garter Lane Arts Centre), Paul McAree (Curator, Lismore Castle Arts), Claire Meaney (Director, Waterford Healing Arts Trust) and Jenna Whelan (Director, GOMA Gallery of Modern Art), while visual artists Clare Scott and Sarah Lincoln reflect on the realities of maintaining a visual art practice in the region.

VAI members can view the VAN online here.

VAN’s final issue of the year has just been despatched to members and arts organisations, while the digital version is now available for subscribers in the members’ area of the VAI website.

You can receive a copy directly in the post, as part of VAI’s membership subscription (Professional or Associate, €25/€50 per year). Alternatively, you can pick up a copy for free in galleries and art centres nationwide.

In VAN’s Nov/Dec 2021 issue, we reflect on some timely exhibitions and festivals taking place across Ireland, while profiling several new organisations.

On The Cover

Aideen Barry, Klostes, behind the scenes; photograph by Martynas Plepys, courtesy the artist and Kaunas 2022, European Capital of

Culture.

Columns

The Painter’s Friend. Cornelius Browne considers the marginal position of working-class artists.

An Ever-evolving Series of Projects. Pamela de Brí discusses her latest body of work, created by cycling around the Irish midlands.

Pluid: The National Comfort Blanket. Claire Halpin and Madeleine Hellier discuss their ambitious collaborative artwork.

Day Dream. The founders of trans-art in Cavan discuss the evolution of the platform to date.

Plan C: Whereabouts? Michaële Cutaya discusses the making of GMIT’s MA in Creative Practice graduate show.

Momentum. Emmett Scanlon reflects on a new exhibition programme at the Irish Architecture Foundation.

Regional Focus: Sligo

Take a Walk for Me. Catherine Fanning, Arts Development Worker, Sligo Arts Service.

The Model. Emer McGarry, Artistic Director and CEO.

It’s OK to be an Outsider. Emma Stroude, Visual Artist.

Conversations with Waters. Ruth Le Gear, Visual Artist.

Hamilton Gallery. Martina Hamilton, Director.

Hyde Bridge Gallery. Nuala Clarke, Chair of Board.

Queer Bodies, Rural Landscape. Bog Cottage, Artist Collective.

Exhibition Profile

Citizens of the Cosmos. Miguel Amado reflects on Anton Vidokle’s recent exhibition in Rampa, which was coproduced by Sirius.

Amongst the Daughter. Jennie Guy contextualises Cecilia Bullo’s show at Hillsboro Fine Art.

Critique

Pigsy, ‘Catharsis of Collapse’ at The Butter Market Gallery.

Emma Wolf-Haugh, ‘Domestic Optimism’ at Project Arts Centre.

Abigail O’Brien, ‘Justice – Never Enough’ at Highlanes Gallery.

Joe Caslin, Counterpart, mural at the Ulster Museum.

‘Queer Mind, Body and Soul’ at the National Gallery of Ireland.

Róisín Kennedy, Art & The Nation State (Liverpool University Press, 2021).

Exhibition Profile

Reliquary of Beasts. Meadhbh McNutt reviews a recent group exhibition at 126 Artist-run Gallery.

Feeling of Knowing. John Graham reviews a recent group exhibition at The Complex.

Festival

Klostės/Folds. Joanne Laws interviews Aideen Barry about her commission for Kaunas European City of Culture 2022.

Hyperobjects. Joanne Laws interviews three artists exhibiting at the PhotoIreland Festival 2021.

Member Profile

Testing/testing. Brendan Maher speaks with Joy Gerrard about her current exhibitions.

Hypnagogia. Aifric Kyne interviews Ann Maria Healy about her recent exhibition at The LAB.

Organisation Profile

Grass Roots. Founders Mark Buckeridge and Leah Corbett discuss Muine Bheag Arts.

Dynamic Power. Matthew Wilkinson introduces The Horse – a new project space in Dublin.

As galleries and museums across Ireland and Northern Ireland remain closed to the public, we have once again had to temporarily shift our focus away from physical exhibitions. VAN’s March – April 2021 issue is loosely themed around artist publishing activities, while also covering a timely range of online film screenings and moving image programmes.

We seem to be witnessing an unprecedented return to publishing in the Irish visual arts community, evident in the vast array of artist books, catalogues, monographs and photobooks currently being produced. These exciting developments are reflected across this issue of VAN. In place of our usual Exhibition Roundup, we are presenting an inaugural Publishing Roundup, which profiles an assortment of recent Irish publications and zines, as well as current and forthcoming international art books.

We have invited contributions from several independent publishing projects and imprints based in Ireland – Numbered Editions, Bloomers Magazine, Soft Fiction Projects and Stereo Editions – who each discuss their scope, evolution and future plans. In addition, Christopher Steenson outlines some key considerations for self-publishing; Sean Lynch interviews John Carson about his new book, produced by ACA Public; while VAN Editor, Joanne Laws, discusses several new photography publications, developed to accompany high profile exhibitions in Ireland this year.

In columns for this issue, Matt Packer considers the impact of art falling ‘out-of-sync’ with its intended proposal, and Miguel Amado calls for a curatorial resistance to the interdependence of finance and the institutions of art. Cornelius Browne reflects on the relations between art and walking in is column, ‘The Gentle Art of Tramping’, while Éilís Murphy and Grace Wilentz discuss their two-year collaboration.

In VAN’s Career Development section, Mary Flanagan interviews artist Jo Killalea about her painting practice; Gwen Burlington discusses the work of Irish artist, Renèe Helèna Browne; and Meadhbh McNutt interviews Jan McCullough about her current exhibition at CCA Derry~Londonderry.

Among other profiles, Susan Campbell outlines the evolution of the Golden Fleece Award, marking its twentieth anniversary this year; while Jennifer Redmond considers various artworks in ‘Cahoots: The Space Between’ – an artist-led digital exhibition, organised in collaboration between A4 Sounds (Dublin), Sample Studios (Cork), and Engage Art Studios (Galway).

VAN’s Critique section features recent online screening programmes: Patrick Hough, ‘Revenant Images’ for aemi; Jesse Jones, ‘We Interrupt This Apocalypse’ for Isolation TV; ‘Irish Short Reel Series’ for CIACLA & MART; Sasha Litvintseva, Every Rupture (2020) for the Douglas Hyde Gallery; and Phil Collins, Bring Down the Walls (2020) hosted by Void Gallery.

Members can view this issue online through their member portal.

Non-members can read a curated list of articles at visualartistsireland.com

Welcome to the May-June issue of The Visual Artists’ News Sheet.

In columns in this issue, Cornelius Browne considers the historical rejection of exhibitions by outsider artists in his Plein Air column for this issue. Conversely, tasked with developing a large-scale exhibition during a global pandemic, Niamh O’Malley outlines ongoing preparations for Ireland at Venice 2022. In other columns, Matt Packer reports from the recent Curatorial Ethics workshop at Void, Derry, while Miguel Amado tracks toxic philanthropy in the global art world. In addition, Shane Finan outlines open-source software and alternative platforms, and Ciarán Murphy reflects on the mysteries of the ‘self’ in relation to the creative process and its affinities with psychoanalysis.

Over the last year, we have been publishing a popular series of articles in which VAI members offer insights into the challenges of maintaining an art practice during a global pandemic. This issue features Member Profiles from artists Audrey Walshe, Elaine Hoey, Giulia Berto, Austin Hearne, Kate Murphy and Ellen Duffy, who each offer generous insights into the research and artworks they have been developing during lockdown.

In Project Profiles, Clare Scott outlines ongoing archival research on the Aileen MacKeogh Project, Barbara Knezevic discusses her recent artwork, ‘The Record Keepers’, commissioned for Cabra Library, while Kate Antosik Parsons reflects on Amanda Coogan’s new work, ‘They come then, the birds’, due to be exhibited at Rua Red, as the first in the series of Magdalene commissions.

VAN’s May-June issue includes an expanded Regional Focus on Belfast, with insights from Peter Richards, Chair of the Belfast Visual Arts Forum; Ben Crothers, Curator and Collections Manager at the Naughton Gallery; Jane Butler, Co-director of Household; the codirectors of Catalyst Arts; and Clodagh Lavelle, Project Coordinator of Reimagine, Remake, Replay. In addition, artists Justine McDonnell, Gerard Carson and several members of Queen Street Studios offer detailed insights into visual arts activities and infrastructure within Belfast city.

Reviewed in the Critique section are an interesting selection of recent online exhibitions and projects: Rory Tangney, ‘Tales of the Future Past’; Kurb Junki, ‘Meditative Monitor’; Vera Ryklova, ‘Aesthetic Distance’ at Cultúrlann, Belfast; ‘Passing-time’, passing-time.org; and ‘The Museum of Ancient History’ at University College Dublin.

In VAN’s first issue of the year, we profile a range of exciting projects, exhibitions, screenings and festivals taking place around the country, as 2021 came to a close.

On The Cover

Anthony Haughey, Anthem Art Intervention, Fort Dunree, on the Eve of the Anglo-Irish Treaty Signing, 5 December 2021; photograph by Anthony Haughey, courtesy the artist and Artlink.

Columns

Kites. Cornelius Browne considers aerial vantage points and objects of flight.

Patience. Andy Parsons discusses his residency at Sligo University Hospital.

Glimpses. Clíodhna Shaffrey chronicles ongoing preparations for the Venice Biennale.

Revising the Rainbow. Hannah Tiernan discusses the touring initiative ‘Rewind << Fastforward >>Record’.

Catalytic Intersections. Mary Catherine Nolan reports on a recent symposium organised by the Irish Artists’ Film Index.

The Black River of Herself. Gwen Burlington discusses Patrick Hough’s recent film.

The Sisyphean Task. Rod Stoneman discusses a recent exhibition in NUI Galway, presenting the work of practice-based PhD students from the Burren College of Art.

Regional Focus: Tipperary

To Be ‘Of a Place’. Helena Tobin, Artistic Director, South Tipperary Art Centre.

Source Arts Centre. Brendan Maher, Director.

Edgelands. John Kennedy, Visual Artist

Forest Bathing. Karen T Colbert, Visual Artist.

Vessels of Strength. Carissa Farrell, Writer and Curator.

Festival

Mutuality. Conal McStravick considers activist histories and communities of care at the 17^th Berwick Film & Media Arts Festival.

Ephemeral Permanence. Jennie Taylor interviews Eoin Dara, curator of TULCA Festival of Visual Arts 2021.

An Example of Something Inside Out. Frank Wasser reports on FIX 21 as both a performer and observer.

Critique

Alice Maher and Rachel Fallon, The Map, 2021, [Detail]; photograph by Ros Kavanagh, courtesy the artists and Rua Red.

‘Innate Flow’ at Market House, Craftwork, Cappoquin

‘Dear www’ at glór, Ennis.

Helen Hughes, ‘and Yes, daydreamer SurRender, Roscommon Arts Centre

Alice Maher and Rachel Fallon, ‘The Map’ at Rua Red.

Joseph Beuys and Asbestos at Hugh Lane Gallery.

Exhibition Profile

Practices of Emancipation. Miguel Amado reflects on Daniela Ortiz’s show at Sirius.

Water – More or Less. Susan Campbell reviews Marie Hanlon’s recent solo show.

Residency

Citizen Action. Seán Beattie interviews Anthony Haughey about his Artlink residency.

VAI Event

Sustainable Ambition. Joanne Laws reports on VAI Get Together 2021.

Project Profile

Test Site. Róisín Foley discusses a recent project in Kyrls Quay, Cork City.

Breaking Cover. Cathy Fitzgerald reports on a recent performance event at IMMA.

Organisation Profile

Stack. Gabrielle Flynn speaks to Elizabeth Kinsella about her exhibition at Solas Art Gallery.

The Global Contemporary. Kate Antosik-Parsons interviews Annie Fletcher about IMMA’s 30^th anniversary.

Thinking Publicly. Megs Morley speaks to Francis McKee about how institutions learn and think publicly with artists.

Vanessa Jones, Cabbage Baby (self-portrait), 2021, oil on linen, 80 x 60 cm; image courtesy of the artist.

VAN’s March/April 2022 issue has a thematic focus on painting. Among specially commissioned feature articles, a series of Artist Interviews between painters at different career stages aims to generate expanded discussion on the nature of contemporary painting.

In Member Profiles, we observe the diversity of practice among VAI members, whose primary medium is painting – ranging from figurative, expressive or pastoral approaches to abstraction and hyper realism.

Reviewed in the expanded 60^th special edition of the Critique section are ten recent high-profile shows, which collectively attest to the scope and ambition of current painting and exhibition-making practices.

On the Cover

Vanessa Jones, Cabbage Baby (self-portrait), 2021, oil on linen, 80 x 60 cm; image courtesy of the artist.

Column

Alfred Wallis: In Belfast & Memory. Cornelius Brown discusses the Alfred Wallis exhibition currently showing at the MAC in Belfast.

Artist Interviews

This Energetic Thing. Nick Miller and Salvatore of Lucan discuss the alchemy and melancholy of painting.
Art Pervading Life Diana Copperwhite and Cecilia Danell reflect on the ways in which painting infiltrates every aspect of life.
Paintings As Places. Selma Makela and Fionna Murray consider the idea that a painting can be a place in itself.
Beyond Language. Sinéad Ní Mhaonaigh and Dominique Crowley reflect on the narratives of painting.
The Impulse of the Work. Ciarán Murphy and Merlin James consider the intimacies and connections of painting.
Surface History. Serena Caulfield and Stephen Dunne discuss their painting practices and recent working methods.

Exhibition Profile

Beginnings. Nick Miller reflects on the life and work of Patrick Hall.
Remembering Zagreb. James Merrigan reflects on ‘Dubliners’ at the 6th Biennial of Painting.

Critique – Special 60th Edition

Cover Image: David Eager Maher, Hotel Regina, 2021, oil on panel; image courtesy of the artist and the Oliver Sears Gallery.
‘Patrick Graham: Taking Leave’, Hillsboro Fine Art

Ian Gordon, ‘The September Paintings’, RCC Letterkenny

Nano Reid, ‘Adamantine’, Highlanes Gallery
Mark Swords, ‘Tribuna’, RHA
Ronnie Hughes, ‘Isobar’, The MAC
David Eager Maher, ‘Pinked’, Oliver Sears

John Kennedy, ‘Edgelands’, South Tipperary Arts Centre

Melissa O’Faherty, ‘Turning It Over’, RHA Ashford Gallery
Winter Group Show, Molesworth Gallery
Mick O’Dea, ‘West Northwest’, Molesworth Gallery

Member Profile

Abstraction As A Felt Sensation. Sarah Wren Wilson

Not Now Death, I’m Painting. Alan Raggett

A Gesture of Othering. Stephen Doyle

Indo-Persian Miniature. Amna Walayat

Vibrant Matter. Natasha Pike

Embodied Movement. Joanne Boyle

Revenants. Kevin Mooney

Transitions in Scale. Joan Sugrue

Sian Costello: Performing Apparitions. Theo Hynan-Ratcliffe
Embodied Knowledge. Julia Mitchell

What Makes Me A Painter. Mollie Douthit

Great Work in Marginal Places. Michelle Boyle

Hoarder of Images. Brian Kielt

Marriage Story. Chanelle Walshe

The Power of Things. Comhghall Casey

Career Development

Look At Us, We’re Here. Catherine Marshall discusses the work of Pat Curran.
One of Many. Jane Morrow interviews Jennifer Trouton at QSS, Belfast.
Enclosed Garden. Vanessa Jones outlines the evolution of her painting practice.
Ghosts of the Revolutionary Past. Paul Doherty, Visual Artist.

Fail Better. Cormac O’Leary, Visual Artist.

Perseverance is Key. Kaye Maahs, Visual Artist.

Residency

Work and Vision. Róisín O’Sullivan reports on her Tony O’Malley residency in Callan.

Member Organisation Profile

CIAS at 60. Brenda Moore-McCann interviews Mary Pavlides, chair of the Contemporary Irish Arts Society.

VAN’s May/June issue features coverage of several major exhibitions, including ‘i See Earth’ at VISUAL, Carlow, and ‘girls girls girls’ at Lismore Castle Arts. Also featured in this issue is an interview with Rónán Ó Raghallaigh, a profile on the 40th anniversary of Black Church Print Studio, a Regional Focus on County Longford, and much more.

This issue introduces a new column series focusing on ‘endings’ from the Department of Ultimology, as well as several Arts & Disability columns, variously outlining: Arts & Disability Ireland’s Curated Space programme; Visual Thinking Strategies for people with visual impairments; and the realities of maintaining an art practice whilst living with chronic pain or long-term illness.

In Member Profiles for this issue, Orla O’Byrne reports from a stone-carving residency in Northern Italy, while Gillian Fitzpatrick and Justin Donnelly discuss their participation in ‘Moon Gallery: Test Flight’, which recently sent artworks to the International Space Station.

On The Cover:

Francesca Woodman, Self-portrait talking to Vince, Providence, Rhode Island, 1977, Gelatin silver estate print; Photograph courtesy The Woodman Family Foundation and Marian Goodman Gallery, © Woodman Family Foundation / DACS, London.

July – August 2022 issue of The Visual Artists’ News Sheet

VAN’s July/Aug issue features reviews of recent exhibitions, including Patrick Graham, ‘Transfiguration’ at the Hugh Lane Gallery; Tinka Bechert, ‘Readymade #1’, at Oonagh Young Gallery; and Backwater Artists, ‘CLOSER’, at Lavit Gallery.

Introducing the new Angelica column series, Alice Rekab outlines an ongoing project exploring black and mixed-race identities in Ireland. Continuing the Ultimology
column series, Kate Strain reflects on the stuff of endings, Cornelius Browne considers Sara Baume’s latest novel, and Eve Parnell examines a set of 1960s Project Arts Centre posters from the NIVAL Collection.

Also in this issue, Alan Phelan and Frank Wasser reflect on the 59th Venice Biennale; Manuela Pacella offers exhibition highlights from her latest visit to Northern Ireland; Orla Whelan outlines the artist-led group, AtHomeStudios; and Miranda Driscoll traces the evolution of Solas Nua in Washington, DC.

On The Cover:

Tinka Bechert, installation view, ‘Readymade #1’ [L to R]: Killer Whale Song, 2020 and Mini-Winners, 2022; photograph by Louis Haugh, courtesy of the artist and Oonagh Young Gallery.

Columns

Seven Steeples. Cornelius Browne reflects on Sara Baume’s latest novel.Family Lines. Introducing the Angelica column series.
What Role for Artists in a Time of Climate Change? Environmentalist John Thorne outlines some of the practical ways in which artists can make more sustainable and informed choices.
Irish Exit. Kate Strain reflects on the stuff of endings.
Contraindications of the Cross. Day Magee discusses the motivations underpinning their recent performance at Pallas Projects/Studios.
Material Histories. Eve Parnell considers a set of Project Arts Centre posters from the NIVAL Collection.
Object Permanence. Irlaith Ni Fheorais discusses a recent dance presentation by Kat Hawkins.
Creative Friction. Paul Roy considers how the impediments of chronic illness can be harnessed within artistic practice.

Venice Biennale

Long Live Degenerate Art. Frank Wasser considers the legacy of surrealism at the59th Venice Biennale.
Bingo Biennale. Alan Phelan reflects on the 59th edition of the Venice Biennale.

Artist-Led

16. Being Present. Orla Whelan outlines the evolution of AtHomeStudios.

Art & Activism

18. Collective Struggle. Kate O’Shea reflects on her participation in the project, ‘Multi-

story – Creative Engagement for Housing Change’.

Critique

Pádraig Spillane, What Passes Between Us V2.0, (2017/21)
Helena Gorey, ‘Understory’, Highlanes Gallery.
Patrick Graham, ‘Transfiguration’, Hugh Lane Gallery.
Tinka Bechert, ‘Readymade #1’, Oonagh Young.

Sean Scully, ‘Square’, Kerlin Gallery.

Backwater Artists, ‘CLOSER’, Lavit Gallery.

Exhibition Profile

Textile Tensions. EL Putnam discusses a retrospective at MART Gallery celebratingthe work of Eleanor Lawler
Black Sea, Blue Smoke. Manuela Pacella offers exhibition insights from her latestvisit to Northern Ireland.

30. Fragile Landscapes. Laura Kelly outlines some ideas underpinning her latest solo

show.

Public Art

31. SUPERUNIFICATION. We profile Ruth E Lyons’s new public sculpture in Dun Laoghaire.

Organisation Profile
32. Solas Nua. Miranda Driscoll outlines the evolution of Solas Nua in Washington, DC.

Member Profile

Building Momentum. Olivia O’Dwyer discusses some of her motivations andinfluences.
History is Written by the Victorious. Paul MacCormaic reflects on his workingmethods and values as an artist.
It Can Never Be the Same Again. Eamonn Maxwell responds to the practice of HinaKhan.
Looking for Light. Julie Corcoran outlines aspects of her photographic process.

September/October 2022 issue of The Visual Artists’ News Sheet

VAN’s September/October 2022 issue has a renewed international focus, which includes reviews of the Whitney Biennial (New York), Rencontres d’Arles, and Arthur Jafa at LUMA (France). Laragh Pittman outlines the participation of Art Nomads in documenta 15 in Kassel (Germany), while Ingrid Lyons reports on her residency at Est-Nord-Est in Quebec (Canada).

This issue also has a timely focus on recent art publishing, including reviews of Negative Space and England on Fire, and an interview with Gregory Sholette about his latest book, The Art of Activism and the Activism of Art.

Among columns for this issue, Iarlaith Ni Fheorais outlines the curatorial ideas underpinning ‘Speech Sounds’ at VISUAL, while Bridget O’Gorman shares her experiences of sustaining an art practice with a disability. Thaís Muniz reflects on the evolution of her career as an interdisciplinary artist for the Angelica Column series, which invites timely contributions from members of the Angelica Network who self-identify as women or minority gender from underrepresented cultural or ethnic backgrounds.

On The Cover: Kumbirai Makumbe, Pre-Intertopia, 2022, sculptural installation, ‘Speech Sounds’, VISUAL; photograph by Ros Kavanagh, courtesy the artist and VISUAL.

Columns

Workshops and Wheelbarrows. Cornelius Browne discusses his recent painting workshop at Dublin Plein Air Festival.

Head Orientation. Thaís Muniz reflects on her practice.

Speech Sounds. Iarlaith Ni Fheorais outlines the curatorial methods and ideas underpinning a recent show at VISUAL.
Ghosting Contemporary Art. Bridget O’Gorman shares her experiences of sustaining an art practice with a disability.

A Manifesto of Tiny Victories. Paul Roy uses mark-making as a metaphor for losses experienced with chronic illness.

The Art of Enactment. Day Magee considers phenomenology, performance, and the body’s experiences of chronic pain.

Cats in the Archive. Eve Parnell discusses the Irish Exhibition of Living Art archive, which is housed in NIVAL.

Kunstverein Aughrim. Kate Strain discusses a new venture.

Exhibition Profile

Made X NW. Phillina Sun discusses a group show at The Dock.
Lament. Jennie Taylor reviews ‘Lament’ at Pallas Projects.

Seminar

A Sense of Place. Marek Wolynski on ‘Art in the Landscape’.

Critique

Sean Hillen, The Great Cliffs of Collage Green, Dublin, IRELANTIS, 1997; courtesy the artist and PhotoIreland Festival.
PhotoIreland Festival 2022.
‘Beyond Drawing’at Uillinn: West Cork Arts Centre.
Kevin Atherton at Butler Gallery
Summer Show at The Engine Room Gallery.
Patrick McAlister at Mermaid Arts Centre.

Festival / Biennial

Many Rivers to Cross. Laragh Pittman outlines the participation of Irish group, Art Nomads, in documenta 15 this summer.
Quiet As It’s Kept. Chris Clarke reviews the Whitney Biennial.
Reclaiming the Contrast. Varvara Keidan Shavrova reviews works at the Rencontres d’Arles and Arthur Jafa at LUMA.

Project Profile

In a Contrary Place. Ruth Clinton and Niamh Moriarty discuss their new film and accompanying storytelling performance.
Love and Odd Posters. Marie-Louise Blaney speaks to Ciara Phillips about her recent solo exhibition at The Model.

Art Publishing

Brian Curtin reviews Negative Space.
Sinéad Gleeson reviews England on Fire.
The Activism of Art. Miguel Amado and Georgia Perkins interview Gregory Sholette about his latest book.

Residency

Entre Chien et Loup. Ingrid Lyons on her recent residency.

VAI Member Profile

Citizens. Belinda Loftus on her show in Rathfarnham Castle.

VAN November/December 2022 issue profiles several recent exhibitions by artists at different career stages, working across a diverse range of media. Nick Miller interviews Philip Moss about his recent exhibition of painting at the RCC Letterkenny; Maximilian Le Cain covers Evgeniya Martirosyan’s ‘To Ashes’ at GOMA Waterford; Aengus Woods considers Lucy McKenna’s mixed-media works, recently presented at Solstice Arts Centre; and Jonathan Brennan reviews Ron Mueck’s hyper-realist sculptures at The MAC in Belfast.
In his latest Plein Air column, Cornelius Browne considers the sea as an omnipresent force in the work of Donegal painters; while in other columns, Chronic Collective discuss their advocacy for improved accessibility in the arts, and The Arts Council outline their new EDI toolkit.

For our Ecologies section, Cleary Connolly and collaborators discuss their Eco Showboat tour of Irish waterways to raise awareness about climate change. This issue also includes performance art, member profiles, a Regional Focus on Galway City, and much more.

On the Cover: Enda Burke, Deirdre by the Window, 2021, photograph; image courtesy of the artist

Columns
9. Sea Interludes. Cornelius Browne considers the sea as an omnipresent force in the work of Donegal painters.
Reflections on a Radical Plot. Clodagh Emoe chronicles the evolution of a long-running ecological project.
10. Chronic Collective. Tara Carroll and Áine O’Hara discuss the art collective and their advocacy for improved accessibility in the arts.
Oh Infamy. Iarlaith Ni Fheorais discusses a new film.
11. Making Change Happen. The Arts Council’s EDI toolkit.
Reflections on Making. Pauline Keena’s residency at BAG.

Regional Focus
12. Civic Contribution. Megs Morley, Director, Galway Arts Centre.
13. Engage Art Studios. Rita McMahon, Managing Director.
Evolution of Artist-Run. Lindsay Merlihan, Director, 126.
14. New Directions. Kate Howard, Galway City Council.
Full Steam Ahead. Anne Marie Deacy, Visual Artist.
15. Galway: A Suburban Perspective. Hilary Morley, Visual Artist
Rainy Metropolis of Ambition. Enda Burke, Visual Artist.

Ecologies
16. Eco Showboat. Connolly Cleary outline their recent tour of Irish waterways to raise awareness about climate change.
Land-made. Padraig Cunningham outlines his contributions to the Eco Showboat Shannon expedition this summer.
17. Mesocosm. Christine Mackey assembles a glossary of key terms pertinent to her Eco Showboat research and project.

Art Publishing
18. The Story of Art Without Men. Varvara Keidan Shavrova reviews Katy Hessel’s book, published by Hutchinson Heinemann.

Critique
20. ‘Bones in the Attic’ at Hugh Lane Gallery
21. Eithne Jordan at Highlanes Gallery
22. Michelle Malone at The LAB
23. Caoimhe McGuckin at Riverbank Arts Centre
24. ‘Braid’ at Lord Mayors Pavilion

Exhibition Profile
26. Unseen. Nick Miller interviews Philip Moss about his painting practice and recent exhibition at the RCC Letterkenny.
28. To Ashes. Maximilian Le Cain reviews Evgeniya Martirosyan’s recent solo exhibition, ‘To Ashes’, at GOMA Waterford.
29. Kurnugia NOW! Celina Muldoon outlines her recent collaborative research project and current exhibition at The Dock.
30. A Dormant Light. Aengus Woods reviews Lucy McKenna’s recent solo exhibition at Solstice Arts Centre in County Meath.
32. Staggering Verisimilitude. Jonathan Brennan reviews Ron Mueck’s ongoing solo exhibition at The MAC in Belfast.

Performance Art
34. Live Art Ireland. Deej Fabyc outlines the renovation of Milford House
in Tipperary and the founding of Live Art Ireland.
36. Ritualistic Repair. Day Magee reflects on ‘Performance Ecologies’ at Interface
in the Inagh Valley, Connemara.

VAI Member Profile
37. Alive and Picking. Kathryn Crowley discusses her practice.
Remotely Radical. Emma Campbell reflects on a recent exhibition at Vault Studios in Belfast featuring the work of VAI members Sally O’Dowd, Charlotte Bosanquet, and Grace McMurray.
38. Augmented Auguries. Brenda Moore-McCann interviews artist and VAI member Claire Halpin about her painting practice.

Isabel Nolan, Desert Mother (Saint Paula) and Lion, 2022, water-based oil on canvas; photograph by Lee Welch, courtesy the artist, Kerlin Gallery, and Void Gallery.

We wish to extend a happy new year to all VAN readers – may the Irish visual arts community go from strength to strength this coming year.

In the first issue of 2023, we profile a range of interesting exhibitions that took place around the country as 2022 came to a close – some of which are continuing into January and beyond. This includes Periodical Review at Pallas Projects/Studio, Corban Walker at Crawford Art Gallery, Grace Dyas at Rua Red, ‘In and of Itself’ at The RHA, Kevin Mooney at IMMA, Isabel Nolan at VOID Gallery, and Brian Fay at Limerick City Gallery of Art.

In columns for this issue, Iarlaith Ni Fheorais introduces the radical potential of access in the visual arts, while Matt Packer discusses the history of international curatorial invitation in Ireland.

We are delighted to include Member Profiles on two octogenarian members of VAI – Mike Bunn and Gillian Deeny. This issue also includes Organisation Profiles on Artform School of Art in Dunmore East, the Grilse Gallery in Kerry, and Temple Bar Gallery + Studios on the occasion of their 40^th anniversary.

In festival profiles for this issue, Emma Campbell interviews Clare Gormley about her curatorial vision for TULCA 2022, while Thomas Pool interviews the EVA Platform Commission artists making new work for EVA International 2023. And lastly, Brenda Moore-McCann discusses the Italian townhouse, Casa Dipinta (meaning ‘painted house’), once owned by the late Brian O’Doherty and his wife, Barbara Novack.

On The Cover

Isabel Nolan, Desert Mother (Saint Paula) and Lion, 2022, water-based oil on canvas; photograph by Lee Welch, courtesy the artist, Kerlin Gallery, and Void Gallery.

Columns

9 The Signature of All Things. Cornelius Browne discusses the origins of artistic anonymity.

Mashq. Kip Alizadeh outlines their participation in ACNI’s Minority Ethnic Artists Mentoring and Residency programme.

10 Through Care, Towards Access. Iarlaith Ni Fheorais introduces the radical potential of access in the visual arts.

Curating in a Negative Spectrum. Matt Packer discusses the history of international curatorial invitation in Ireland.

11 Practical Magic. Siobhán Mooney outlines the 12th iteration of Periodical Review at Pallas Projects/Studio.

We Need to Talk About Painting. Karen Ebbs reports on a series of talks she recently organised at IMMA and The Complex.

12 The Kerr Shoe Collection. Eve Parnell considers a collection of twentieth-century Irish shoes housed in NIVAL.

Direct Support. Elida Maiques outlines her participation in Mermaid Art Centre’s Transform Associate Artist Scheme.

Legacy

13 Casa Dipinta. Brenda Moore-McCann discusses the Italian townhouse owned by Brian O’Doherty and Barbara Novack.

Organisation

14 The Space to Grow. Members of TBG+S consider the organisation’s legacy and continued importance on its 40^th anniversary.

17 Ireland’s St. Ives. Martina O’Byrne outlines the evolution of Artform School of Art in Dunmore East in Waterford.

18 Defining an Arena. Lucy and Robert Carter on Grilse Gallery.

Critique

Tinka Bechert, Handlanger, 2018, mixed media on raw canvas.
‘UPHOLD: New Collections’ at 35DP
Grace Dyas ‘A Mary Magdalene Experience’ at Rua Red
‘In and of Itself – Abstraction in the age of images’ at The RHA.
Kevin Mooney ‘Revenants’ at IMMA
Brian Fay ‘The Most Recent Forever’ at Limerick City Gallery of Art

Exhibition Profile

25 Re_sett_ing_s. John Graham reviews a recent exhibition by Jaki Irvine and Locky Morris at The Complex, Dublin.

26 Corban-scale. Jennifer Redmond reviews Corban Walker’s solo show continuing at Crawford Art Gallery until 15 January.

28 Flotsam, jetsam, lagan and derelict. Kevin Burns reviews Isabel Nolan’s current solo exhibition at VOID Gallery, Derry.

VAI Event

30 Get Together 2022. Joanne Laws and Thomas Pool report on VAI’s annual networking event for visual artists.

Festival / Biennial

The World Was All Before Them. Emma Campbell interviews Clare Gormley about her curatorial vision for TULCA 2022.
EVA International 2022. Thomas Pool interviews the EVA Platform Commission artists making new work for the festival.

VAI Member Profile

The Man Who Sees Through Shadows. Mike Bunn.
Up in the Sky with the Swallows and Swifts. Gillian Deeny.
Oonagh Latchford. Catherine Marshall on Oonagh Latchford.

In columns for VAN March/April issue, Iarlaith Ni Fheorais’s outlines a forthcoming access toolkit for curators and producers, while Cornelius Browne considers some of the pragmatic and conceptual connections between underground filmmaking and plein air painting. For our latest new column series, Memento Mori, Day Magee reflects on the significance of losing their father and the profound art of human grief, while Neva Elliot discusses her new body of work, ‘How to Create a Fallstreak’, which is dedicated to her late husband.

The March/April issue also features Career Development interviews with George Bolster and Alice Rekab about their solo exhibitions in West Cork and Munich respectively. Exhibition reviews in this issue include: Seán Fingleton at Copperhouse; John Beattie, ‘Reconstructing Mondrian’ at the Hugh Lane Gallery; ‘Image as Protest’ at Cristea Roberts Gallery in London; and Siobhan McGibbon, ‘Xenophon: Making Oddkin with Japanese Knotweed’ at Galway Arts Centre. Also profiled are Greywood Arts, The Museum of Everyone, Léann Herlihy’s recent performance at Project Arts Centre, and Doireann O’Malley’s new 3D theatre play, Conversations on a Crosstown Algorithm (2022).

On The Cover

George Bolster, ‘Communication: We Are Not The Only Ones Talking…’, installation view; photograph by Tomasz Madajczak, courtesy the artist and Uillinn: West Cork Arts Centre.

Columns

Guerrilla Painting. Cornelius Browne considers some of the pragmatic and conceptual connections between underground filmmaking and plein air painting.

Turning Towards a Rupture. Fiona Hallinan discusses the demolition of ireland’s second largest catholic church.

Intrinsic Models of Accessibility. Iarlaith Ni Fheorais outlines a forthcoming access toolkit for curators and producers.

The Fabric of Nostalgia. Belfast-based artist, Anushiya Sundaralingam, reflects on her multidisciplinary practice.

Unruly Forms of Care. Cecilia Graham and Grace Jackson discuss their curatorial residency at PS² in Belfast.

To Huddle. Saidhbhín Gibson outlines an informal art discussion group she has been convening since 2017.

How to Create a Fallstreak. Neva Elliott discusses her recent solo exhibition at Linenhall Arts Centre.

An Art to Grief. Day Magee reflects on the significance of losing their father and the profound art of human grief.

Organisation Profile

Greywood Arts. Jessica Bonenfant outlines the evolution of a multi-disciplinary artist’s residency and community hub in East Cork.

Career Development

Older Than Our Gods. Brian Curtin interviews artist George Bolster about the evolution of his practice.
Home, Architecture, Territory. Miguel Amado interviews Alice Rekab about the artist’s solo exhibition at Museum Villa Stuck in Munich.

Critique

Fiona Kelly, No Such Thing as Away #3, 2023.
John Beattie, ‘Reconstructing Mondrian’, Hugh Lane Gallery
Anthony Luvera, ‘She Her, Hers, Herself’, Belfast Exposed
Fiona Kelly, ‘A Demarcation of Time’, RHA Ashford Gallery
Raymond Watson, ‘Apis Mellifera: The Honey Bee’, ArtisAnn Gallery

International

Leaking Lands. Miguel Amado and Georgia Perkins outline a solo show by Ofri Cnaani presented at Rampa in coproduction with SIRIUS.
Image as Protest. Varvara Keidan Shavrova reviews an exhibition by Joy Gerrard and Paula Rego, currently showing at Cristea Roberts Gallery in London.

Exhibition Profile

Xenophon: Making Oddkin. Michaële Cutaya reviews Siobhan McGibbon’s recent solo exhibition at Galway Arts Centre.

Project Profile

Centre Becomes Margin. Léann Herlihy reflects on their recent performance at Project Arts Centre.
Inclusive Platform. Curator Brendan Fox outlines recent and forthcoming projects from the Museum of Everyone
Systemic Crisis. Maximilian Le Cain reviews Doireann O’Malley’s new 3D theatre play, Conversations on a Crosstown Algorithm.

VAI Member Profile

Shetland: An Archaeology of the Unknown. Jackie Flanagan outlines a recent body of tar paintings made in Shetland.
Vision Over Visions. Pat Boran reflects on a recent exhibition by VAI and Aosdána member, Seán Fingleton.

36. Rural Mythologies. Shane Finan discusses some of his recent site-responsive projects.

Irina Gheorghe, Principles of Space Detection, 2023, performance; photograph courtesy of the artist and NCAD Gallery.

The May/June issue of The Visual Artists’ News Sheet opens with a diverse series of columns: Veronica Sanchez discusses the contemporary relevance of Latin American art, Aoife Banks outlines the rationale underpinning her long-running curatorial project, The Queeratorial, and Sarah Browne outlines a recent collaborative film-making project with autistic young people in North Dublin.

VAN May/June issue introduces a new section, In Focus: Irish Arts Abroad, with insights from VAI members living overseas – Suzanne Mooney in Tokyo, Arno Kramer in The Netherlands, Kira O’Reilly in Helsinki, and John Kindness in London – and we also hear from several Irish cultural organisations about their visual art programmes: Contemporary Irish Arts Center Los Angeles, Irish Arts Center in New York, Centre Culturel Irlandais, Paris, and Irish Cultural Centre in London.

Exhibitions reviewed in this issue include: Niamh O’Malley at The Model, Richard Gorman at Hugh Lane Gallery, Philip Mosse at Molesworth Gallery, Bernadette Kiely at Lavit Gallery, Clare Langan at Luan Gallery, Eoin Mac Lochlainn at Olivier Cornet Gallery, Alice Maher at Golden Thread Gallery, ‘Mammalia and the Psyche’ and ‘Come on Baby’ at Limerick City Gallery of Art, and ‘Fix Your Pony!’ at Naughton Gallery.

Also in this issue, EL Putnam reviews Hettie Judah’s new book, How Not to Exclude Artist Mothers (and other parents); Noelle English reports on the MAKE Symposium 2023 at MTU Crawford College of Art and Design; and Brendan Maher interviews Therry Rudin and Patricia Hurl about ‘Homeland’, an open-submission exhibition of video art, now in its tenth year.

On The Cover

Irina Gheorghe, Principles of Space Detection, 2023, performance; photograph courtesy of the artist and NCAD Gallery.

First Pages

Roundup. Exhibitions and events from the past two months.
News. The latest developments in the arts sector.

Columns

The Eviction. Adam Doyle discusses the rationale behind his digital image and its historical and contemporary relevance.

The Queeratorial. Aoife Banks outlines the rationale underpinning her long-running curatorial project.

Paintings on Your Pillow. Cornelius Browne reflects on his ancestral landscape and its significance in his childhood paintings.

Why Latin American Art Matters Now. Veronica Sanchez discusses the contemporary relevance of Latin American art.

On Parallel Play. Sarah Browne outlines a recent collaborative film-making project with autistic young people.

Communicating Access. Iarlaith Ni Fheorais applies principles of access to the TULCA Festival curatorial brief.

Back to School. Jennie Ridyard outlines her experience of continuing education in art and design at NCAD.

Making and Place. Noelle English reports on the MAKE Symposium 2023 at MTU Crawford College of Art and Design.

Saying Hard Things. Neva Elliott discusses the role of vulnerability in her art practice.

Keening Garden Door. Day Magee considers the ancient funerary custom of keening as a performative device.

In Focus: Irish Arts Abroad

From Capel Street to Koganecho. Suzanne Mooney, Tokyo

The Meandering Road. Arno Kramer, The Netherlands

Untitled (Bodies). Kira O’Reilly, Helsinki
16. Appetite for Visual Culture. John Kindness, London

Irish Arts in California. Contemporary Irish Arts Center Los Angeles

National and International Hub. Irish Arts Center, New York
Cultural Flagship. Centre Culturel Irlandais, Paris

A Home for Irish Arts. Irish Cultural Centre, London

Critique

A Klass, Untitled skateboarding photographs, 2022
Niamh O’Malley at The Model
Richard Gorman at Hugh Lane Gallery
Philip Mosse at Molesworth Gallery
Bernadette Kiely at Lavit Gallery
‘Fix Your Pony!’ at Naughton Gallery

Ecologies

The Bogs Are Breathing. Nessa Cronin interviews Siobhán McDonald about her current exhibition at The Model.

Exhibition Profile

28. Tactical Intra-Actions. Gianna Tasha Tomasso reviews two recent exhibitions at Limerick City Gallery of Art.
At the Gates of Silent Memory. Colin Graham reviews Clare Langan’s exhibition at Luan Gallery.
The War between Friends. Brenda Moore-McCann reviews Eoin Mac Lochlainn’s recent show at Olivier Cornet Gallery.
Vox Hybrida. Colin Darke reviews Alice Maher’s recent exhibition at Golden Thread Gallery in Belfast.

Performance Art

Principles of Space Detection. Jennifer Fitzgibbon reviews Irina Gheorghe’s performance and show at NCAD Gallery.

Project Profile

Through Light and Shade. Brendan Maher interviews Therry Rudin and Patricia Hurl.
Fictional Reconfigurations. Georgia Perkins outlines a recent online workshop series with artist Amanda Rice.

Remaking the Crust of the Earth. Gavin Murphy discusses his project shown at the Irish Architectural Archive.

Book Review

Hettie Judah, How Not to Exclude Artist Mothers (and other parents)

The July/August issue of The Visual Artists’ News Sheet continues VAI’s commitment to ecological practice with the section, In Focus: Field Notes, presenting insights from VAI members and organisations on recent landscape-based art projects.

Among exhibition coverage for this issue, there is a strong emphasis on photographic practices and processes, which includes reviews of Dorje De Burgh’s show at South Tipperary Arts Centre, Roseanne Lynch at Photo Museum Ireland, and ‘This Rural’ at Lismore Castle Arts.

Other exhibitions profiled in this issue include: Sarah Pierce ‘Scene of the Myth’ at IMMA; ‘Bodywork’ at Crawford Art Gallery; Ellen Harvey at Butler Gallery; Dominic Thorpe, ‘Aftermath: Perpetrator Trauma’ at Linenhall Arts Centre; Shell/Ter Artist Collective at the National Gallery of Ireland; and Mike Nelson ‘Extinction Beckons’ at Hayward Gallery in London.

On The Cover

First Pages

Roundup. Exhibitions and events from the past two months.
News. The latest developments in the arts sector.

Columns

Notes on Grammar. Joanne Laws outlines the conversation surrounding gender-neutral pronouns.

Reading Time and Infrastructure. Christa-Maria Lerm Hayes reflects on Brian O’Doherty’s social practice legacy.

The Heavenly Order of Humble Materials. Cornelius Browne considers the salvaged and the handmade.

Molecular Revolutions. Shannon Carroll discusses her recent curatorial projects including a show at The LAB Gallery.

Fully Whole. Iarlaith Ní Fheorais responds to Holly Márie Parnell’s latest film, made with her brother David.

Grief Weaving. Donegal-based artist Emily Waszak considers recent developments in her textile practice.

In Focus: Field Work

Drawn With Nature. Lisa Fingleton, VAI Member

Glossaries for Forwardness. Marie Farrington, VAI Member

Holdings. Belinda Quirke, Director of Solstice Arts Centre
The Green Cube. Sandra Murphy, IMMA Biodiversity Tours

Tracing a Lightning Path. James Kelly, VAI Member

Living Sculptures. Katerina Gribkoff , VAI Member
NCAD Field. Gareth Kennedy, Artist and Lecturer
Sustainment Feasts. Deirdre O’Mahony, VAI Member

Seminar

Collective Space. Sarah Long reports from Cobh in Cork on the SIRIUS Summer School 2023 programme.

Critique

Dragana Jurišić, Hi, Vis 3 from the series ‘Hi-Vis (2020-21)
Sarah Pierce at the Irish Museum of Modern Art
‘Bodywork’ at Crawford Art Gallery
Ellen Harvey at Butler Gallery
Dorje de Burgh at South Tipperary Arts Centre
Roseanne Lynch at Photo Museum Ireland
Project Profile

Say What You See. Ian Wieczorek outlines his involvement in organising a retrospective of the art of Gus Lynott.
Loading Bay. Frank Wasser discusses a new project for artists’ writing commissioned by the National Sculpture Factory.
History of the Present. Eoin Dara interviews Maria Fusco about her new opera-film about Belfast, class, and conflict.
Post-extractivist Landscapes. Judy Carroll Deeley discusses her collaboration with UCD Humanities Institute.

Exhibition Profile

Aftermath: Perpetrator Trauma. Mary Flanagan considers Dominic Thorpe’s exhibition at the Linenhall Arts Centre.
This Rural. Selina Guinness reviews a recent exhibition at Lismore Castle Arts focusing on photographic practices.
32. Shelter. Anne Hodge discusses an exhibition by the Shell/Ter Artist Collective at the National Gallery of Ireland.

International

Extinction Beckons. Frank Wasser reviews Mike Nelson’s recent survey exhibition at the Hayward Gallery in London.
Twilight Zone. Alannah Robins outlines the involvement of Interface at Supermarket Art Fair in Stockholm.

Member Profile

The Grammar of Clouds. Martin Finnin discusses the evolution of his painting practice.
Expanded Painting. Amy Higgins outlines the development of her artistic practice.

The September / October issue of The Visual Artists’ News Sheet features a range of timely insights from artists and curators about forthcoming exhibitions and projects happening around the country and overseas in autumn.

This coverage includes: EVA International (currently showing in venues across Limerick until 29 October); MA in Creative Practice graduate exhibitions at ATU Galway and ATU Sligo (opening on 8 and 14 September respectively); Earth Rising at IMMA (21 – 24 September); Colin Martin’s forthcoming solo show at CCI Paris (16 September – 27 October); Orla Barry’s live artwork, being presented at TBG+S (5 – 7 October); Aoibheann Greenan’s exhibition at Pallas Projects/Studios (2 – 18 November); and Sonia Shiel’s forthcoming solo show at VISUAL Carlow (30 September 2023 – 7 January 2024).

For our latest ‘In Focus’ section, we hear from artist-led initiatives, Askeaton Contemporary Arts, Basic Space, Catalyst Arts, INTER_SITE, and Muine Bheag Arts. In addition, this issue features significant coverage of recent exhibitions, presented in galleries and art centres nationwide, which includes: Fiona Mulholland ‘In Search of Pearls & Future Fossils’ at Artlink (Donegal); Katherine Sankey ‘an atom bomb in each morsel of life’ at The LAB Gallery (Dublin); ‘Then I Laid the Floor’ at Triskel Arts Centre (Cork); ‘On Earth We are Briefly Gorgeous’ at glór (Clare); Jialin Long, ‘Red Illuminates II’ at The Library Project (Dublin); Mark Joyce ‘Bending Light’ at Damer House Gallery (Tipperary); and a visual arts roundup from Galway International Arts Festival 2023.

On The Cover

First Pages

Roundup. Exhibitions and events from the past two months.

Columns

Hide and Sing. Cornelius Browne reflects on his ongoing artistic collaboration with Sara Baume.

The Anatomy of Art Making. Manal Mahamid outlines her journey as a multidisciplinary Palestinian artist.

ACNI Collection. Joanna Johnston outlines recent acquisitions to the ACNI Collection.

Earth Rising. Siobhán Mooney outlines the forthcoming eco art festival taking place at IMMA this September.

Wicklow Artists Salon. Philip St John and Joanna Kidney reflect on a year of the Wicklow Artists Salon.

The Ocean and The Forest. Frank Golden draws on European Modern Art to reflect on Timothy Emlyn Jones’s recent exhibition.

Festival

The Gleaners Society. Frank Wasser interviews Sebastian Cichocki about his guest programme for EVA International.

In Focus: Artist-Led

An Altering Rhythm. Inter_site.
Welcome to the Neighbourhood. Askeaton Contemporary Arts.

relocation / reaction / response. Catalyst Arts.

A Basic Need for Space. Basic Space.
Grass Roots. Muine Bheag Arts.

Critique

Ruby Wallis, ‘Whistling in the Dark’, installation view, Galway Arts Centre.
Fiona Mulholland, Artlink, Fort Dunree.
Katherine Sankey, The LAB Gallery.
‘Then I Laid the Floor’, Triskel Arts Centre
‘On Earth We are Briefly Gorgeous’, glór
Galway International Arts Festival, Various Venues.

Exhibition Profile

Red Illuminates. Adam Stoneman reflects on Jialin Long’s current body of work which uses AI processes.
Bending Light. Catherine Marshall reflects on Mark Joyce’s recent solo exhibition at Damer House Gallery.
Empathy Lab. Colin Martin discusses current themes in his painting practice and forthcoming show at CCI Paris.

Postgraduate

Getting to the Heart of Practice. Laurence Hynes discusses his experience of the MA Creative Practice at ATU Galway.

Daughter(s) of Danu. Nina Fern outlines her artistic journey as part of the MA Creative Practice at ATU Sligo.

Project Profile

The Agri-Cultural Summer Show. Ciara Healy interviews Orla Barry about evolving thematic concerns in her practice.
The Ninth Muse. Frank Wasser interviews Aoibheann Greenan about her current body of work.
Supernatural Bureau. Kate Strain interviews Sonia Shiel about current and forthcoming projects.

Member Profile

Twilight Time. Ann Quinn, VAI Member.
Stacks. Mary O’Connor, VAI Member.

Give Me A Ring Tomorrow. Nerosunero, VAI Member.

You Begin. Margaret Fitzgibbon, VAI Member.

Visual Artists Ireland is thrilled to publish the November-December 2023 special issue of The Visual Artists’ News Sheet. As recipient of the inaugural VAN Guest Editor Award 2023, London-based art critic and editor Orit Gat has developed a themed issue on the relationship between art and literature.

As stated by Orit in her editorial for this special issue, “The relationships of art and literature is a subject I have personally been engaging with for a long time […] But this theme was particularly inspired by the growth of the literary scene in Ireland, the amount of Irish fiction I’ve been reading, and my appreciation of the work of many Irish art and literary publications.”

This VAN special issue features a roundtable on publishing, in which Orit asks editors about the historic and contemporary forms, conditions and exchanges of the Irish publishing landscape. The columns for this issue are each short personal essays about the manifold ways in which a writing practice is formed. The feature articles touch on various subjects, including writing requirements in art schools, the representation of art in film, and a filmmaker’s new book. In addition, there are artist projects that show how artists relate to language and research, two poems about art and looking, and a short story about an artist who creates a monument to the victims of austerity. The Critique section focuses on exhibitions that relate in some way to literature, opera, science fiction, poetry, or historically important writers.

On The Cover

Shilpa Gupta, Words Come From Ears, 2018, Motion flapboard, 15-minute loop, 43 x 244 x 13 cm; photograph by Par Fredin, courtesy of the artist, Uppsala Art Museum, and the Henry Moore Institute.

Columns

Editorial. VAN Guest Editor Orit Gat introduces this special issue on art and literature.

On Magic and Dullness. Laura McLean-Ferris considers the transformative power of writing to conjure iridescent realities.

When Writers Socialise. Megan Nolan offers insights into New York’s literary and socialite scenes.

Stupidities. Brian Dillon outlines his approach when engaging with artists and their work.

Until the Penny Drops. Wendy Erskine discusses writing, process, and makes an argument for polyphony.

Making Prosinečki. Adrian Duncan discusses his short story and subsequent fi lm which premiered earlier this year.

Writing & Art Practice

Writing in Art School. Frank Wasser chronicles the standardisation of academic writing within art college education.
On Close Scrutiny, Ritual and Reverence. Isobel Harbison interviews Sara Baume about the evolution of her writing practice.

Roundtable

Roundtable on Publishing. Orit Gat interviews several editors about the Irish publishing landscape.

Poetry

Chromatology. Mónica de la Torre assembles extracts of writing on colour in response to Donald Judd’s multicoloured works.
The Day After Tragedy, Lunch Beneath Whistlejacket. Aea Varfi s-van Warmelo.

Critique

Blaise Cendrars and Sonia Delaunay-Terk, La Prose du Trans sibérien et de la petite Jehanne de France (Paris: Éditions des hommes nouveaux, 1913)
‘Human Is’ at Schinkel Pavillon, Berlin.
Nour Mobarak, ‘Dafne Phono’ at Municipal Theatre of Piraeus, Greece.
‘Blaise Cendrars (1887–1961): Poetry Is Everything’ at The Morgan Library & Museum, New York.
‘The Weight of Words’ at The Henry Moore Institute.

Extended Essay

Eddie Murphy Walks into a Gallery. Orlando Whitfield on how no one understands the art world.
Art of Relations. Quinn Latimer considers filmmaker, writer, and theorist Trinh T. Minh-ha’s latest artist book, The Twofold Commitment (Primary Information, 2023).

Artist Project

Ages. Steve Bishop presents found photographs from an ongoing series.
Score for Unlanguaging. Orit Gat introduces the work of Jesse Chun.
The pagination of moments lost and found. Steven Emmanuel considers an old drawing that sits on his sideboard.

Prose

The Monument. Juliet Jacques presents a short story about a memorial to the victims of austerity.

Comics

In the Gutter. Chris Fite-Wassilak considers the successes and failures of comics in the gallery space.

Cecilia Danell, The Primeval Sunset, 2022 [detail], hand-tufted rug, 100% wool yarn, 200 x 200 cm; image courtesy of the artist, Kevin Kavanagh, and Crawford Art Gallery

Happy new year to our valued readers, supporters, colleagues, and friends!

The first VAN issue of the year features a report on VAI Get Together 2023 – the annual networking event for visual artists – which took a blended approach last autumn, comprising both online and physical events. We also hear from VAI Exchange Award winner, Chinedum Muotto, who discusses recent developments in his interdisciplinary practice.

Abigail O’Brien reflects on bicentennial celebrations at the Royal Hibernian Academy last year, while Brian Mac Domhnaill outlines the 60th anniversary of Cork Arts Society, now trading as Lavit Gallery. In the Festival/Biennale section, Lucy Elvis reflects on the learning of the TULCA Festival board this year, in terms of accessibility and inclusion, and for the first in a new series of columns on KCAT artists, Kate Strain introduces the work of Sinéad Fahey.

For our latest ‘In Focus’ section, we hear from artists working in the expanded discipline of textiles, with insights from Ceadogán Rugmakers and Contemporary Tapestry Artists Ireland, as well as VAI Members Ciara O’Connor, Aine Byrne, Sinéad Kennedy, and Richard Malone.

This issue also features coverage of various exhibitions happening around the country as 2023 drew to a close. This includes: ‘Self Determination: A Global Perspective’ at IMMA, ‘Following Threads’ at Crawford Art Gallery, Karen Donnellan ‘Cosmic Wetness’ at The RHA, Kwok Tsui’s ‘Deferral | Echo’ at CCA Derry~Londonderry, Maeve Brennan ‘An Excavation’ at VISUAL Carlow, Victor Sloan ‘Beyond’ at Belfast Exposed, Diaa Lagan and Basil Al-Rawi, ‘Shahid’, and Elaine Grainger ‘Holding on Lightly’ at The LAB Gallery.

On The Cover

Cecilia Danell, The Primeval Sunset, 2022 [detail], hand-tufted rug, 100% wool yarn, 200 x 200 cm; image courtesy of the artist, Kevin Kavanagh, and Crawford Art Gallery.

First Pages

Roundup. Exhibitions and events from the past two months.
News. The latest developments in the arts sector.

Columns

The Painter’s Calendar. Cornelius Browne considers the temporal commitments of plein air painting.

Fullness of Being. For the first in a new series of columns on KCAT artists, Kate Strain introduces the work of Sinéad Fahey.

RHA at 200. Abigail O’Brien reflects on bicentennial celebrations at the Royal Hibernian Academy last year.

Masking / Unmasking. VAI Exchange Award winner Chinedum Muotto discusses recent developments in his interdisciplinary practice.

In Focus: Textiles

True to Our Roots. Colm Kenny, Ceadogán Rugmakers

Shapeshifting. Ciara O’Connor, VAI Member

Loose Ends. Aine Byrne, VAI Member
Slow Time. Contemporary Tapestry Artists Ireland
Grand Land. Sinéad Kennedy, VAI Member
Materiality and Meaning. Richard Malone, VAI Member

Artist-Led

HERmetics in the Studio. Members of a new painting collective share their motivations and spaces of engagement.

Member Profile

Slowly but Surely (I’m so fucking tired). Belfast-based visual artist Tara McGinn reflects on concepts of home in their emerging practice.

Folded In. Aodán McCardle discusses the evolution of his work to date including various career highlights.

Critique

Isabel Nolan, The Light Poured Out Of You, 2017.
‘Self Determination: A Global Perspective’ at IMMA
‘Following Threads’ at Crawford Art Gallery
Diaa Lagan and Basil Al-Rawi, and Elaine Grainger at The LAB Gallery
Maeve Brennan at VISUAL Carlow
Victor Sloan at Belfast Exposed

Columns

Blissed. Maximilian Le Cain discusses his new film which expands the expressive palette of Irish cinema.

Artist-Centred Approach. Dorothy Smith outlines her ongoing curatorial residency at Droichead Arts Centre.

VAI Event

VAI Get Together 2023. Joanne Laws and Thomas Pool report on the annual networking event for visual artists.

Exhibition Profile

Cosmic Wetness. Day Magee speaks to Karen Donnellan about their recent exhibition at The RHA.
Deferral | Echo. Kevin Burns discusses Kwok Tsui’s exhibition at CCA Derry~Londonderry.

Organisation Profile

Art for Patronage. Brian Mac Domhnaill reflects on the 60th anniversary of Cork Arts Society, now trading as Lavit Gallery.
A Gaeltacht Sensibility. Andrew Duggan interviews Úna Campbell, Director of. An Gailearaí in County Donegal.

Festival / Biennale

Hospitality & Hidden Time. Lucy Elvis reflects on the learning of the TULCA Festival board in terms of accessibility and inclusion.

Project Profile

Sentient Entity. Debi Paul talks about Glandwr, her home in Chapelizod, where she hosts exhibitions and projects.

Last Pages

VAI Lifelong Learning. Upcoming VAI helpdesks, cafés, and webinars.

In columns for this issue, we reflect on capacity and slowness across the arts sector; Lian Bell considers the implications of slow travel, while Catherine Hemelryk shares some thoughts on delivering a meaningful programme with limited funding, staffing, and resources.

This issue also features a series of timely interviews: Joanne Laws interviews Eimear Walshe and Sara Greavu about the forthcoming representation of Ireland at the Venice Biennale; Thomas Pool interviews participants of the Freelands Artist Programme; and Sarah Long interviews Marianne Keating about her touring exhibition, ‘An Ciúnas / The Silence’, currently showing at The Model.

In Focus: Collectives is a special section for this issue, featuring six diverse groups working in the experimental field, with reflections on art historical DIY influences, and the infrastructure, networks, and supports needed to maintain a collective practice. We hear from artist collectives Mná Rógaire, The Glue Factory, and Everything But The Kitchen Sink; experimental music ensemble, Kirkos; rave architecture collective, Temporary Pleasure; and community archive, Éireann and I, who each outline their previous, current and forthcoming activities.

On The Cover

Eimear Walshe, ROMANTIC IRELAND, 2023, production still; photograph by Faolán Carey, courtesy of the artist and Ireland at Venice.

First Pages

Roundup. Exhibitions and events from the past two months.
News. The latest developments in the arts sector.

Columns

Wee Windows. Cornelius Browne considers apertures and vantage points onto the past.

Greetings from the Countryside (Strong Emotions). Laura Fitzgerald presents an excerpt from her new artist’s book.

On Capacity. Catherine Hemelryk shares some thoughts on delivering meaningful programmes with limited resources.

Surface Tactics. For the first in a series of columns, Lian Bell considers the implications of slow travel.

Access Toolkits: A Living Tradition. Iarlaith Ní Fheorais outlines her recently published Access Toolkit for Artworkers.

Responding to Sound. Catherine Marshall discusses the work of KCAT Studio artist Diana Chambers.

Exhibition Profile

An Ciúnas. Sarah Long interviews Marianne Keating about her latest film and touring exhibition.
Rehearsals. Ella de Búrca reviews Yvonne McGuiness’s recent solo exhibition at Butler Gallery.

In Focus: Collectives