Renowned Japanese war photographer Akihiko Okamura moved to Ireland in 1969 and documented the conflict in Northern Ireland. His empathy with people shines through his work, as Stephanie McBride elucidates. Maeve McCarthy’s self-portrait graces the cover of the autumn edition. In conversation with AIDAN DUNNE, she tells him that, for her, ‘a large part of painting is the meditative aspect of working alone’; and NIAMH NicGHABHANN introduces a selection of this year’s art graduates. Readers are invited to view the Irish Arts Review’s online platform, ‘New Generation Gallery’, which showcases the achievements of graduating students from art colleges across Ireland. LIAM BELTON outlines the turbulent times when he was a student at art college in Dublin in the late 1960s. TOM DUFFY appraises the work of 19th-century watercolour artist Mildred Anne Butler; and ANN WILSON reflects on Harry Clarke’s only stained-glass creations in Co Kerry. KATHRYN MILLIGAN reveals the Dublin Art Club held an annual exhibition that included international artists such as Louise Breslau and Philip Wilson Steer. ANGELA GRIFFITH considers artist Ailbhe Barrett’s landscape prints; while PETER MURRAY finds that there is a Mannerist or Baroque quality to Michael Quane’s sculptures.
Liam Belton recalls the protests in the National College of Art between 1967 and 1971 that led to the formation of an autonomous board to oversee the running of the college. These developments, along with other major events of the period, are encapsulated in his artwork Homage to Paint and Protest
Themes of the natural world and climate chaos lie at the heart of Caoimhín Gaffney’s exhibition, writes Eamonn Maxwell
Christian Dupont outlines the multitalented and free-spirited life of Juanita Casey
Vivienne Roche’s approach is formally beautiful and seemingly straightforward in its address, but opens onto profound and unsettling ideas about time, loss and persistence, writes Sarah Kelleher
Painter and printmaker Ailbhe Barrett’s engagement with making, or ‘sculpting’ the copperplate to her will, results in work of transcendental emotional intensity, writes Angela Griffith
Peter Murray journeys to sculptor Michael Quane’s studio in Cork, which provides an insight into his inspirations and method of working
John O’Sullivan visits artist John Jobson at his home on the Little Sugar Loaf in County Wicklow
The politics of identity and the fashioning of the self emerge as strong themes in the 2024 graduate shows, writes Niamh NicGhabhann
‘I suppose my approach to painting is very much a classical one,’ Maeve McCarthy tells Aidan Dunne as she reflects on her personal style
Akihiko Okamura’s photographs show people persisting with some semblance of routine during wartime, when the unreal and absurd invade the everyday, writes Stephanie McBride
Paula Murphy celebrates the work of one of Ireland’s most esteemed sculptors, John Henry Foley
The visitor who makes the effort to see Monasteranenagh will have a rewarding experience, writes Tadhg O’Keeffe about the early Cistercian abbey in County Limerick
Ann Wilson explores Harry Clarke’s only stained-glass windows in Kerry, which feature fairytale elements unusual in a religious setting
Kathryn Milligan looks at the sociable world of the Dublin Arts Club, which brought together artists, musicians and society figures
At a time when men dominated the profession, Mildred Anne Butler achieved parity as an artist with her distinguished male contemporaries, writes Tom Duffy
Catherine Bowe selects Songwood by Orla Barry from the Wexford County Council Art Collection
