Mary Swanzy is a major figure in Irish art, but also a complex, isolated one with whom we have yet to come to terms, writes Brian Fallon, as IMMA launches an exhibition of her work as part of the Modern Masters series
Anita Groener’s strength lies in a total focus on her theme and her art, an art that draws in and challenges the viewer, writes Judith Hill
The calibre of the work produced by graduate ceramicists and metalworkers is testament to the talent and experience of their tutors, writes Alison FitzGerald
Frank McGuinness reflects on the visual clues within Andrew Pike’s triptych portrait of art collector John McBratney
Francis Halsall previews new paintings from Mark Francis which expand the boundaries of the grid to suggest the interconnectivity of today’s network society
Davey Moor explores the qualities of light as a medium for sculpture as seen in a group show at Solstice, Co Meath
The six artists selected for Futures have succeeded in reaching an important milestone in their careers, writes Pádraic E Moore
‘I’m trying to make the invisible visible’ Pat Harris tells Brian McAvera on the eve of his exhibition at the Taylor Galleries, Dublin
Carissa Farrell discovers an inexhaustible fascination at the heart of Remco de Fouw’s practice with gravity, physics and the cosmos
Brian McAvera wonders whether soulless consumerism is the message in Ian Cumberland’s dramatically installed artworks recently shown at Golden Thread Gallery in Belfast
Ellen Rowley tracks the critical development of Grafton Architects from their beginnings on Dublin’s Grafton Street to their journey to Venice
‘The world changed for me’. Hilary Pyle remembers Melanie le Brocquy’s realisation that sculpture was to be her métier when she discovered the sculpture studio at art school
Peter harbison remembers the antiquarian Lord Walter Fitzgerald
Sarah Gillespie recalls how the Wynne sisters of County Wicklow transformed the produce of a small woollen mill and brought it to the centre of fashion in Paris and beyond
Deirdre Conroy presents three examples from a number of conservation projects initiated by the grant scheme of the Irish georgian Society
From girlhood to adult, Eileen Lavery inspired her father. To mark the National Gallery’s acquisition of John Lavery’s Her First Communion Kenneth McConkey traces its artistic lineage
