It becomes increasingly clear that Nano Reid was ahead of her time and milieu, writes Brian Fallon
Amanda Doran luxuriates in the painted medium and celebrates the character of those she paints, writes Ingrid Lyons
Felicity Clear’s work shows its tangential relationship to modernist visions of utopia, writes Francis Halsall
Artist Eamon Colman reveals the lure of art and landscape from an early age to John P O’Sullivan
The class of 2019 redefines what characterises visual culture today through their individual practices, writes Paul Caffrey
Using satellite imaging, photographer David Thomas Smith echoes the Arecibo radio message transmitted into deep space forty-five years ago, writes Stephanie McBride
‘I knew from the age of three what I wanted to do,‚’ sculptor Carolyn Mulholland tells Brian McAvera
Due to Camille Souter’s versatility as a painter, her paintings can be difficult to define, writes Garrett Cormican
The historically important Doneraile Court in north Cork has opened its doors to the public following an extensive conservation and renovation project, writes Peter Pearson
In a society where two pennies would look down on a ha’penny, the Henrietta St tenements were considered quite ‘posh’, writes Danielle O’Donovan
John Egan’s Portable Irish harp became the archetypal Irish harp, writes Nancy Hurrell
Christian Dupont probes the interplay of literary and visual arts in an exhibition inspired by Flann O’Brien and The Third Policeman.
Emmett Scanlon looks at the award-winning work of architect and teacher Robert Bourke
Fiona Kearney selects Anatomy of Chaos IV by Miriam de Búrca from the University College Cork art collection
