Using traditional materials and methods that link her to earlier portrait artists, Emma Stroude has become this year’s Ireland-U.S. Council/Irish Arts Review Portraiture Award winner, writes Angela Griffith
I’m always looking for an elemental quality,‚’ artist David Smith tells Aidan Dunne
Sarah Kelleher considers how Aoife Layton’s highly theatrical compositions underscore our uneasy relationship with the natural world
Niamh NicGhabhann explores the detail and impetus behind the latest work in the ‘Magdalene Series’ of exhibitions at Rua Red
John P O’Sullivan finds that a constant feature in David Eager Maher’s work is his inclusion of art-history references
Olivia Musgrave’s interest in the Classics greatly informs her sculptures, writes Peter Murray
If there’s a consistent thematic in my work it’s about how meaning is made, artist Isabel Nolan tells Brian McAvera
Stephanie McBride looks at the work of Dublin-born photographer Alen MacWeeney
Louise Cotter visits the Student Hub at University College Cork, winner in the Adaptation and Re-use category in this year’s Royal Institute of the Architects of Ireland Awards.
Eileen Black recounts the life and work of Post-Impressionist painter, Georgina Moutray Kyle
Peter Somerville-Large recounts the history of the National Museum of Ireland’s significant ethnographic collection, last displayed over thirty years ago
David Caron examines AE Child’s masterwork, his stained-glass window for the Dublin Unitarian Church on St Stephen’s Green
Terence Reeves-Smyth looks at the history of Springhill House in Co Derry, three hundred years after its construction
Martha Severens tells the story of Henrietta de Beaulieu Dering Johnston, who travelled from Dublin to Charles Town, South Carolina, becoming America’s first professional woman artist
