Out Now! – July-August Issue of the Visual Artists’ News Sheet

July – August 2022 issue of The Visual Artists’ News Sheet

VAN’s July/Aug issue features reviews of recent exhibitions, including Patrick Graham, ‘Transfiguration’ at the Hugh Lane Gallery; Tinka Bechert, ‘Readymade #1’, at Oonagh Young Gallery; and Backwater Artists, ‘CLOSER’, at Lavit Gallery.

Introducing the new Angelica column series, Alice Rekab outlines an ongoing project exploring black and mixed-race identities in Ireland. Continuing the Ultimology
column series, Kate Strain reflects on the stuff of endings, Cornelius Browne considers Sara Baume’s latest novel, and Eve Parnell examines a set of 1960s Project Arts Centre posters from the NIVAL Collection.

Also in this issue, Alan Phelan and Frank Wasser reflect on the 59th Venice Biennale; Manuela Pacella offers exhibition highlights from her latest visit to Northern Ireland; Orla Whelan outlines the artist-led group, AtHomeStudios; and Miranda Driscoll traces the evolution of Solas Nua in Washington, DC.

On The Cover:

Tinka Bechert, installation view, ‘Readymade #1’ [L to R]: Killer Whale Song, 2020 and Mini-Winners, 2022; photograph by Louis Haugh, courtesy of the artist and Oonagh Young Gallery.

Columns

  1. Seven Steeples. Cornelius Browne reflects on Sara Baume’s latest novel.Family Lines. Introducing the Angelica column series.
  2. What Role for Artists in a Time of Climate Change? Environmentalist John Thorne outlines some of the practical ways in which artists can make more sustainable and informed choices.
    Irish Exit. Kate Strain reflects on the stuff of endings.
  3. Contraindications of the Cross. Day Magee discusses the motivations underpinning their recent performance at Pallas Projects/Studios.
    Material Histories. Eve Parnell considers a set of Project Arts Centre posters from the NIVAL Collection.
  4. Object Permanence. Irlaith Ni Fheorais discusses a recent dance presentation by Kat Hawkins.
    Creative Friction. Paul Roy considers how the impediments of chronic illness can be harnessed within artistic practice.

Venice Biennale

  1. Long Live Degenerate Art. Frank Wasser considers the legacy of surrealism at the59th Venice Biennale.
  2. Bingo Biennale. Alan Phelan reflects on the 59th edition of the Venice Biennale.

Artist-Led

    16. Being Present. Orla Whelan outlines the evolution of AtHomeStudios.

Art & Activism

    18. Collective Struggle. Kate O’Shea reflects on her participation in the project, ‘Multi-

story – Creative Engagement for Housing Change’.

Critique

  1. Pádraig Spillane, What Passes Between Us V2.0, (2017/21)
  2. Helena Gorey, ‘Understory’, Highlanes Gallery.
  3. Patrick Graham, ‘Transfiguration’, Hugh Lane Gallery.
  4. Tinka Bechert, ‘Readymade #1’, Oonagh Young.
  1. Sean Scully, ‘Square’, Kerlin Gallery.
  1. Backwater Artists, ‘CLOSER’, Lavit Gallery.

Exhibition Profile

  1. Textile Tensions. EL Putnam discusses a retrospective at MART Gallery celebratingthe work of Eleanor Lawler
  2. Black Sea, Blue Smoke. Manuela Pacella offers exhibition insights from her latestvisit to Northern Ireland.

30. Fragile Landscapes. Laura Kelly outlines some ideas underpinning her latest solo

show.

Public Art

31. SUPERUNIFICATION. We profile Ruth E Lyons’s new public sculpture in Dun Laoghaire.

Organisation Profile
32. Solas Nua. Miranda Driscoll outlines the evolution of Solas Nua in Washington, DC.

Member Profile

  1. Building Momentum. Olivia O’Dwyer discusses some of her motivations andinfluences.
  2. History is Written by the Victorious. Paul MacCormaic reflects on his workingmethods and values as an artist.
  3. It Can Never Be the Same Again. Eamonn Maxwell responds to the practice of HinaKhan.
  4. Looking for Light. Julie Corcoran outlines aspects of her photographic process.

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