Ahead of his upcoming exhibition and 80th birthday, Riann Coulter pays tribute to one of Ireland’s most renowned artists, Neil Shawcross
Gary Coyle’s work is often unfairly regarded as Gothic in both concept and tone, writes Gerry Walker
Tom Climent’s recent paintings appear to edge more and more away from pure abstraction, writes Mark Ewart
Joseph Heffernan’s work hones in on a playful innocence without sacrificing any of the pathos, writes Michael Waldron
Margo Banks is so instinctively attuned to her subject that her energetic approach and her subject matter are inseparable, writes Isabella Evangelisti
I learned to trust my instincts and it gave me permission to get things wrong, Sinead McKeever tells Brian McAvera
The sea’s characteristics, particularly its unpredictability and perpetual rhythm, continuously inspire, Alva Gallagher tells Carissa Farrell
In a world where the analogue is routinely discarded, Aoife Shanahan’s explorations invite us to look more closely and more intensely at the image, writes Stephanie McBride
Barbara Warren’s work, rather than startling or imposing on the eye, invites the spectator to come in, writes Hilary Pyle
Newman House is undoubtedly the right locus for this major initiative, where there is an affinity between form and content, writes Niall McCullough about Dublin’s new museum of literature
Irish artists, both professional and amateur, have made a lasting contribution to the world of botanical illustration, writes Patricia Butler
John Trotter was a bright star in the Dublin Society’s drawing school in the mid-18th century, but his failure to achieve the success expected of him remains something of a mystery, writes Peter Murray
There are echoes of the old Roman circus on the bases of Irish high crosses at Clonmacnoise, Monasterboice and Lorrha, writes Peter Harbison
The legacy of stained-glass artist Helen Moloney is in the vibrancy of her colours and her use of coloured glass and lead lines in an abstract manner, writes Bart Felle
Following a hunting fall, the hound saved the earl’s life by running back to the castle to raise the alarm, recounts Terence Reeves-Smyth
Jill Cousins selects the painting Breton Woman by Roderic O’Conor from the Hunt Museum’s permanent collection
Terence Reeves-Smyth explores the eccentric history of this charming country house as it celebrates sixty years of public access
Respect for memory and our individual attachment to place seems crucial to the ethos of Fishamble Architects, writes Emmett Scanlon
