The Spring 23 edition boasts a superb selection of articles to enjoy, from artists On View across Ireland in March, April and May, as well as many informed and beautifully illustrated articles, featuring Belfast School of Art’s painting graduates at the MAC, Michael Canning, Richard Proffitt, Ailbhe Ní Bahrain, Catherine McWilliams, interview with Diana Copperwhite, Photography – Dianne Whyte, Sculpture – Imogen Stuart, Veronica Bolay, William Baillie and much more.
Ahead of her touring exhibition commencing at the Highlanes Gallery, Diana Copperwhite talks with Aidan Dunne
Isabella Evangelisti visits the MAC in Belfast, where the work of selected painting graduates from Belfast School of Art is on show
Mike Fitzpatrick reflects on the sombre, otherworldly quality of Michael Canning’s work
Richard Proffitt tells John P O’Sullivan how a visit to a Peter Blake exhibition as a teenager encouraged him on his career path
Margarita Cappock examines how Ailbhe Ní Bhriain’s work with computer-generated imagery and collage invokes a feeling of dislocation in the viewer
Louise Wallace looks at the work of Catherine McWilliams, whose survey exhibition is showing at the FE McWilliam Gallery
Paula Murphy celebrates the work of Imogen Stuart over the course of her six-decade career
Dianne Whyte’s images elevate the mundane and the overlooked with a sublime grace, writes Stephanie McBride
Julian Campbell regards the work of Thomas Alfred Jones, whose watercolours of women deserve renewed attention
Bernard Meehan explores a thousand-year-old Irish psalter on which new multispectral imaging has revealed details lost for centuries
Peter Harbison delights in rediscovered watercolours by a master of the genre, Jg O’Brien aka Oben
Nesta Butler traces the career of William Baillie, printmaker, art connoisseur and dealer
Catherine Manthorne recounts the life and work of the Irish American landscape artist Eliza Pratt Greatorex
Brian Fallon takes a renewed look at the work of Veronica Bolay, whose West of Ireland landscapes are among her strongest work
William Shortall selects Elizabeth Yeats’ dance card from the Cuala Press Archive at Trinity College Dublin
Christian Dupont espies John Behan’s unused drawings for Thomas Kinsella’s ‘Glenmacnass’.
