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Catalogue sponsored and printed by Irish Elsevier Printing

Introduction The Limerick Exhibition of Visual Art was founded in 1977 and was planned as an annual event showing work by contemporary visual artists and has taken place every year since that date.

The motivation for Limerick EVA primarily arose out of the paucity of opportunities in the Mid-West for viewing contemporary vi sua I art. This lack was most deeply felt by the communityofthe Limerick School of Art and local artists, as well as the general public.

Having decided to inaugurate EVA, the challenge was how to give it a particular personality and quality which would make it attractive for artists to submit work, for critics to evaluate, and for the public to visit and be intrigued, entertained, stimulated, ruffled, outraged, puzzled, impressed, bored, appalled or delighted ­depending on the degree of convergence or divergence of ideas, images and minds.

The decision which was to have the most formative influence on the character of EVA was the selection annually of a sole adjudicator whose attributes were to include an impressive involvement in the world of contemporary art and non-residence in Ireland.

To date, this approach has resulted in a broad cross-section of contemporary Irish art being subjected to the rigours of a highly personal appraisal by an individual who is virtually unaware of the state of Irish art, much less the individuals who

make this art, and who has a perspective which is nurtured in a different milieu, such as Big Apple East-Coast North America or the Shuttle Culture Triangle of Paris-Zurich-Milan. This surely adds a dimension to Irish art criticism that is to be welcomed. Nor should it be forgotten that not only is the show a selection of work but, by definition, a critique of both the entries and the premise on which the adjudicator's selection is based.

Hence the variety in the personality of EVA each year. Recurring prizewinners, selected by very different personalities, must have been greatly encouraged by such diverse, unrelated and unfamiliar sources of reinforcement, whilst those artists who have won a prize in one year and been rejected another have cause to ponder the nature of art criticism.

Anotherfeature of EVA is its size. Due to the great shortage of centrally located Exhibition space in Limerick, the Exhibition is confined to 60 or 70 works of moderate size. The large entry, therefore, results in some work being rejected solely due to lack of space. This possibly has the virtue of raising the (so called) standard b11t it equally inhibits the scope anc !e of the Exhibition, particularly in relation to sculpture and installations. The Committee would greatly welcome the flexibility of a larger venue and looks forward to the day when the Municipal Gallery is extended or moved to grander

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premrses.

The Committee also places great importance on the degree of public participation in the Exhibition. The attendances are quite good and the opening night leaves one in no doubt about the grouping instincts of mankind (we suppose the wine helps, ordinaireand all as it is). Yet the awareness of EVA locally is not such as to require the Committee to budget for crowd control services. With this in mind, fringe events have been organised, with some success, to attract people with interests in the other arts, such as literature and music.

This year, Paul O'Reilly, Artist, will give two lectures based on the content of EVA '82 and Paul Muldoon, Poet, will give a reading. • School tours to visit the Exhibition are particularly welcome and should be arranged in advance. u

It rem a ins for the Committee to sincerely thank everybody who has assisted in EVA '82, especially the Artists, the Adjudicator (Ms. Liesbeth Brandt Corstius), the openerofEVA(Mr. Pat Murphy, Chairman of ROSC), and all of our generous sponsors and patrons.

Hugh Murray Chairman of EVA.

• Please refer to catalogue and poster for details.

•• For information contact Ms. Lorraine Wall Secretary, EVA lnchbeg, Ennis, Co. Clare Telephone (065) 24810

Assisted by the Arts Council.

Liesbeth Brandt Corstius studied art history at Amsterdam University. Having earned her M.A., she became curator for modern art at the Boymans-van Beuningen Museum in Rotterdam in 1967. From 1975to 1980 she was editor-in-chief ofthe Museumjournal, a bi-monthly journal for contemporary art. She is also a freelance art critic and organiser of exhibitions. She founded the Dutch Foundation for Women in the Visual Arts and is vice-president of the Advisice-president of the Advisory Board for the Ministry of Cultural Affairs. From August 1982 she will be director of the Municipal Museum in Arnhem.

Adjudicators Note

Sunday Night-first impression: Five hundred works of art stand against the walls of the vast new gymnasium ofThomond College; a number are still being unpacked under cold, artificial light.

Monday Morning -second impression: Behind the City Library rooms we find ourselves in the neat, quiet art gallery with it'sthreetinywings, it's soft and even light that falls through the glass roof. Evidently it will not be able to house more than seventy works.

I realise that my work for the next two days will be rejecting over four hundred works of art by Irish Artists. A cruel job-1 am glad not to know any of the artists personally and to be able to fly out of Limerick after having finished it.

But it is also an exciting job. Never in my life have I seen any of these works before. Sti II, they relate to all paintings and sculptures that I have seen before. They speak the same language, each one, however, with its own voice- intonation, accent and timbre make them into separate individual beings. And during the hours that I walk in their midst, some of them become an acquaintance. Every time I enter the gymnasium- in the morning, after lunch -I long to see them again; how they are doing now? Andwhiletheshow takes form, I wonder how they will behave together, forthey have very different characters. There are the quiet, introverted types, the friendly gleaming ones

and the ones that restrain their force or, to the contrary, cry out expressively; there are the funny, ironical ones next to the serious ones and of course every combination of these.

As a whole, I think they will form a vital group, that will spiritually (and litera lly) burst out of the gallery.

From the moment I met them, some of them have been attracting my attention more than others. There was this kind of naughty little boy who winked at me when I saw him first. Although I tried to divide my attention honestly between all ofthem, I could and would not forget him and when it came to it I thought he shou ld get this year's Graphics Award. He turned out to be the brother of a strange wood relief, that had been hanging above our heads all the time. The father of the two is Willie Heron. When the large drawing, mounted on board, had it's face turned to me, I was immediately impressed by the strong black form and the playful, but sharp, colourfu l lines. 'The problem with sharks is they bite', a Ia rge drawing in charcoal, ink and felt-tip pen by Anne Carlisle is worth this year's Painting Award.

One literally bumped into the large sculpture of Simon Moller when entering the gymnasium. That first night, under artificial light, it had a transparent quality. The grey light of the next morning made it more massive, but still intriguing by the way the different materials were matched. Not the heavy classical materials of

sculpture are used-stone, wood-but ordinary contemporary stuff like wire and latex and preformed wooden skirtings. This 'wall', strong and at the same time aware of it's holes and broken-off ends, stands for the Sculpture Award ofthis year.

The Patrons' Open Award is given to Breda Kennedy's painting

"untitled No. 3'.lt has all the qualities ofthat piece of art which comprises a whole wonderful world in itself . One can relate to it on many different levels and this is exactly what happened between me and that proud and modest painting, during the hours that I lived in the ·gymnasium.

The exhibition in the Municipal Art Gallery is my personal choice from the works sent in, and is based on my knowledge and experience of art. I have one wish: that all visitors would have been able to make their own choice from the total amount of works sent in, so as to compare it with mine. I am sure they would have related to other works as well. It is a shame that the amount of work done by the artists and organisers in order to get five hundred works packed and transported from, and to, all over Ireland, will not end up in a largeshow-nexttothe adjudicator's choice-so that everybody could see and compare.

At this moment, Wednesday, 15th September,430 works of art are being repacked without anybody having seen them, except me.

Liesbeth BrandtCorstius

An Introduction to the Limerick EVA '82 A useful aid in thinking about what works of art and artists do comes in setting these art activities side by side with the activities of language: speaking, hearing and listening. EVA '82 seems to offer an especially fitting occasion to make such comparisons. lnd.eed, this year's adjudicator in her catalogue comments uses this art-as-language metaphor as an effective way of recalling her experience in selecting this year's exhibition. What follows briefly extends the comparison.

Before any audience can hear or listen to what the works of art say, the artists themselves have had to become dedicated listeners. What artists say depends not only on what they hear but also on how well they listen, listen taken to mean not merely hearing but paying attention and giving heed. Studying and practising art, then, entails the study and practice of ways of listening, and every work of art shows in three w ays the directions an artist's listening takes.

1. Representation . Each work of art 'shows how the artist listens to what goes on outside him or herself; what he or she selects and refers to in a literal or visual way within the work of art. The work of art also shows how the artist listens to what goes on inside him or herself, to the thoughts and feelings, to the emotional charges aroused by the artist's experience to which he or she refers within the work of art itself.

2. Presentation. Any presented work of art shows how well the artist listens to or heeds the various materials, media, and tools used in making it. The design elements are also stressed and combined in various ways depending on the response the artist makes when listening to or heeding them.

3. Audience. Each artist also functions as his or her own first audience and the work-in-progress

responds to the self-criticism, to the decisions and revisions the artist makes. Such decisions are often made under the influence of the ideas and the example of others. And, too, theworkofartcan also be made w ith other people directly in mind: patrons, commissions, competitions. In these matters of audience, then, the artist functions importantly as a listener. So far, the schematic account ofthe artist as a listener hides the actual complexity of the listening which artists do. Any work of art ca rries evidence of the artist's listening, not merely in the three areas indicated above: representation, presentation and audience. These areas inter-relate in complex, synergistic ways. The art ist's intuitive, speculative listening crosses the gaps among them in pursuit of active conversation. And, further, the artist as a listener tunes in to the conversations that arise when materials and media talk among themselves, when figures, hands, arms and bodies and thei r extrusions, tools, co nverse, when design behaviours hum and buzz together, when references to the living that people do pop in and out of range, and when metaphors and analogies balloon and eddy in the m inds of artists and their audiences. The work of art then that comes to us is a resu lt of how the artist acts on what he or she has listened to or heeded. Coming to terms with a work of art means considering what it is the artist has listened to, or what it is the artist seems deaf to. As well, we the audience should come to the work of art as listeners. Any audience meeting a work of art, any person visiting EVA '82 brings with him or her particular ways of listening or heeding which wil l influence, help or hinder, the abil ity to realize what a particular artist is saying and what the exhibition as a whole, as a col lect ion of

contemporary Irish art, says for itself. In EVA '82 the audience will meet with works that stress certain listening patterns. Those of the audience that can not only hear but also listen to these patterns will have the best chance to meet and hold conversation with artists whose work relates very closely to the on going processes that are making Ireland modern. Much of the work in EVA '82 has been done by artists whose ability to listen intently has established close encounters with their materials, letting the material's physical characteristics stand dominant: feathers, straw, wool, wood, plaster, paper. Paint most often moves loosely and quickly, driven by touches, strokes and gestures that are decisively cast and then let fall only on occasion to smother completely the ground or support. The grid is there as a straight-man orfoil for the active gestures of body, materials and media. For the most part those works w ith a stress on visual representation are photographic ones.

EVA '82 seems bold, brash, bouncy, buoyant, and optimistically confident in the sense of its own ebullient energy, with no little humour and fun, and with hardly a trace of hesitancy, doubt or any trouble offstage. It's the sunny side ofthe street. Much oft he work especially in the sense of design that is d isplayed, has a presence and verve met within the ways information and goods come packaged today in modern Ireland on the make. Overall the pulse and beat of EVA '82 comes close in many ways to establishing the kind of contagious enthusiasm generated in the popular T.V. programmes Top of the Pops, and Fame. An aggressive driving output of energy at a high level of performance-on the sunny side of modern l ife.

Paul O'Reilly 16/17 September '82.

Patrons' Open Award £1 ,000

Breda Kennedy 6 Untitled No.3

Acrylic on paper 105x 131 £195 Biographical note Born England, 1960; Galway 1965; Studied Belfast College of Art, 1979-82; at present on a Language Scholarship in Frieberg, West Gemany; taking Post-Graduate Studies, Dusseldorf Academy of Art, 1982-83.

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Painting Prize £500 HydrocurveAward

Anne Carlisle 50 The trouble with sharks is they bite.

Charcoal, ink and felt-tip pen. 135.5x 101.5 £250

Biographical note Born Temp/epatrick, 1957; Studied Belfast College of Art, 1976-79 (BA), Post-Graduate, Chelsea College of Art, 1979180 (MA); Alice Berger Hammersch/agAward, 1980; N.J. Arts Council Bursary, 1982; selected exhibitions: '5 Ulster Artists, ' touring, 1979; Living Art, 1979/80; 12th John Moores Exhibition, Liverpool, 1980; One-man Exhibition, Octogan Gallery, Belfast, 1981; 'Irish Drawing,' Robert Hull-Fleming Museum, New York, 1981182; SADE cork, (prize w inner), 1982; at present is a full-time artist in Belfast and a member of the editorial committee of CIRCA.

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Graphics Prize £500 Radio Telefis Eireann/ Murray Sweeney & Co., Solicitors Award

Willie Heron 29 Object No. 9

Gouache 21 X 29.5 N.F.S.

Biographical note Born Newtownards 1953; Studied Northern Ireland Polytechnic, 1975-76, Wolverhampton Polytechnic, 1976-79; selected exhibitions: Group Show, Richard I Demarco Gallery, Edinburgh Arts Festival, 1979; 'Hibernian lnscape,' Douglas Hyde Gallery, Dublin and touring Ireland and Scotland, (selected by Paul Overy) 1980-81; one-man exhibition, Art and Research Exchange, Belfast, 1982; at present works as a gardener and continues to paint.

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Sculpture Prize£500 Mid-West Branch of the Royal Institute of Architects in lrelend Award

Simon Moller 71 Untitled

Latex, plaster and steel. 194 x 126x 295 N.F.S.

Biographical note Born England, 1953; Limerick 1981 ; Studied Gwent College of Education, 1974-77, Post Graduate, Royal College of Art, 1977-80; selected exhibitions: RCA Tri-annual, 1978; '3 Sculptors,' Waterloo Gallery, London, 7 981; ' ... and Printmaking,' Waterloo Gallery, 1982; SADE Cork (prize winner), 1982; at present is a Lecturer in Sculpture at the Limerick School of Art and Design.

The Exhibition All measurements in centimetres height x width x depth

Antonia M cGuane 1 Mountain

Oil on canvas 54.5 X 60 £150

Cristine Dean 4 Mona in Stitches

Mixed media 25 x 38 (open) £65

Tom Conroy 2 Bride

Mainly straw 246 x 125 x 125 approx. £150

Rosaleen Davey 5 Evidence

Etching and aquatint 11 X 10 £60

Gerda Teljeur 3 Bog/and 2

Mixed media 114 X 152 X 38 £900

Breda Kennedy 6 Untitled No. 3

Acrylic on paper 105x131. £195

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Nigel Rolfe 7 The Difficulty of Flying I

011 p1gment on card 89 X 89 £300

Michael Lyons 10 Untitled

Ink, conte, acryl ic and gouache 77.5 X 52.5 £190

Audrey Mullins 8 Untitled

Acrylic 274 X 167 £525

Vivien Burnside 11 Dead Life 2

Pastel 38 X 50 £70

DJ/SJ at FOMT. 9 Workmg for the Family

M1xed media 58 X 74 N.F.S.

Marie O'Connell 12 Bog Pamting

Oil 65.5 X 64 £60

Teresa Clifford 13 Untitled

Oil Pastel 75.5 X 54.5 £45

Mary P. O 'Connor 16 Heaven View

Screenprint 62 X 77 £65

Michael Cullen 14 Tourist (rhe Birthday PresenrJ

Acrylic on canvas 124.5 X 87 N.F.S.

Siobhan Piercy 17 Brittas Bay

Acrylic 112 X 88 £480

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Siobhan Piercy

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15 Perceptual Permutations No. 4 Screen print 43 x 43 approx £120

Eithne Jordan 18 Beach with Child's View

Oil on collage on paper 76 X 81.5 £200

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Pauline Doyle 19 Nightclubbing

Screen print 50 X 50 (55

Anthony O'Carroll 22 Sphinx

Screenprint 48.5 X 64 ( 125

Colm Crone 20 Ramification

Limestone and alkyd 195x12.5x7 (100

Reggie Murphy 23 Oiltank

Photograph 25 X 15 £25

Evln Nolan 21 Pink Rectangle on Black

Mixed med1a 81 X 57 (400

Margaret Becker 24 The Victim

Etching 44.5 X 27.5 C75

Deirdre Mcloughlin 25 Shape

Ceramic 14 X 33 X 34 (140

Kathi Edwards 28 The Fish Bowl

Ceramic 24 X 18 X 18 £50

Bob Sloan 26 Couple II

Cast metal, stone, artificial hair, twine 14.5 X 7.5 X 3 £150

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Willie Heron 29 Object .'\fo. 9

Gouache 21 X 29.5 N.F.S.

Bob Sloan 27 Couple Ill

Cast metal, stone, feathers 15 X 15.5 X 7 £150

Bob Sloan 30 Couple I

Cast metal, hair 15x17.5x3 £150

Ron Melling 31 August 81182

Cryla and collage 120 X 192 £825

Paul O'Keefe 34 One box/Two ladders

Steel 66 X 23 X 80 £280

Charles Tyrell 32 Untitled

Acrylic, graphite and timber 143 X 208 £800

Blaithin Sheerin 35 Feathered Cloak

Feathers and cotton 164 X 204 N.F.S.

Mary Fitzgerald 33 Grid Shift Dyptych

Paper and mixed media 92 X 140 £380

Stephen Snoddy 36 Emblem

Acrylic on canvas and linen 178 X 183 £200

Michael Cullen 37 Dancer

Screen print 51 X 63.5 £90

Jim Buckley 40 Nitric Breaks

Mild Steel varnished 55 X 38 X 21 £250

Richard Gorman 38 Switch

Glass. electric switches, wire 43 X 20 X 17 £300

Willie Heron 41 North, South, East and West

Burnt Wood and paint 44 X 35 N.F.S.

Michael Mulcahy 39 Garden

Screen print 51 X 63.5 £50 unframed

Gerard Cox 42 The Ploughman's Chair

Ash 93 X 261 X 100 £375

Patricia langlois 43 Sock Walk

Photograph 46 X 56 £:75

Lloyd Nolan 46 The Encounter

Photograph 17 X 24 £50

Caroline Bond 44 Untitled No. 6

Mixed media 32.5 X 42 £60

Cecily Brennan 47 Burning the Heather (1)

Watercolour 26.5 X 16 £130

Victor Sloan 45 Venetian Blind 1

Photograph 26.5 X 39.5 £75

Victor Sloan 48 Venetian Blind 2

Photograph 28 X 40 £75

lisa Scholand 49 One Morning

Pigment-print (photograph) 12x17.5 £80

Biaithan Sheerin 52 Documentation of a Performance

(June 1982) Photographs 64 X 29 N.F.S.

Anne Carlisle 50 The trouble with sharks is they bite

Charcoal, ink and felt-tip pen 135.5 X 101 5 £250

Charles Harper 53 Dictum

Watercolour on Japanese Paper 60 X 90 £425

Simon English 51 Nights for Ubu

Mixed media 27 X 41 N.F.S.

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Donald Teskey 54 ... little bright pieces

Pencil on paper 59.5 X 48 £250

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Anne Carlisle 55 You can get so much mto a lerter

Mixed media 135.5 X 101 .5 (250

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Jennifer O'Sullivan 58 Conclusion

Etching 36.5 X 20.5 £68

Joe Wilson 56 Elavations

Pencil on graph paper 31 X 48 £70

Eilis O'Connell 59 Bailing Twine Piece

Handmade paper 234 X 86 £500

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Jackie Cooney 57 Growth Senes

Mixed media 126 X 78 N.F.S.

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Robert Janz 60 Cat Nap ·

Pensil 43 X 29.5 £90

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Pamela Harris 61 Clowning

Gouache 55.5 X 74 £120

Roy Johnston

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64 Study for Traverse Series (25431) Conte 47 X 47 £145

Pauline Fitzgerald 62 Heart Lines

Mixed media 62 X 51 £115

Roy Johnston 65 Study for Traverse Series (213)

Conte 47 X 47 £145

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Joe Wilson 63 Gate

Mixed media 86.5 X 70 £125

Samuel Walsh 66 Urawing No. 25

Charcoal on arches paper 77 X 57 £120

Bill O'Fiynn 67 Glass Houses

Photographs 63 x 80 (4 pieces) £:100.

Kevin Carroll 70 Untitled

Photograph 40 X 31 (60

Joe Lee 68 Big Lady

Screenprint 80 X 62 (200

Simon Moller 71 Untitled

Latex, p laster and steel 194 X 126 X 295 N.F.S.

Kevin Flanagan 69 Strand

Stone/wire mesh 84x84x8 (215

Gwen O'Dowd 72 Breaking Away

M ixed media 139 X 132 £250

Mic ky Donnelly 73 Left Hand Triptych

Mixed media 92 X 198 £300

Brendan Howard 74 Beach Assemblage

Photographs 60 x 138 (Triptych) £150

Jill Nunn 75 Five Barrels between Cork and Limerick

Oil on acrylic base 38 X 162 £205.

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Noreen O'Hare 76 Landmark I

Photographs 25.5 x 41 (Diptychl £60

List of Exhibitors 24 Margaret Becker

Green Acres Loughanure Clane Co. Kildare

44 Caroline Bond Mount Ave. Dundalk Co Louth

47 Cecily Brennan 25 Longford Tee. Monkstown Co. Dublin

40 Jim Buckley The Farmhouse Lotamore Mayfield Cork

11 Vivien Burnside 210 Ravenhill Rd. Belfast BT6 SED

50, 55 Anne Carlisle 87 Wellesley Ave. Lisburn Rd. Belfast 960U

70 Kevin Carroll 37 Clarinda Park East Dun Laoghaire Co. Dublin

13 Teresa Clifford Carrigane leamcara Co. Cork

2 Tom Conroy co 8 Henry St. Galway

57 Jackie Cooney Ballyfolan Brittas Co. Dublin

42 Gerard Cox Gate Lodge Ki lternan Lodge Kilternan Co. Dublin

20 Colm Crone Fandre Co. Clare

37, 14 Michael Cullen 6 Henrietta St Dublin

5 Rosaleen Davey 'Ounavarra' Seafield Rd. Killiney Co. Dulin

38 Richard Gorman 11 Doris St. Ring send Dublin 4

53 Charles Harper 503 Elm Pk. Cast letroy Limerick

61 Pamela Harris 6 Church Ave. Rathmines Dublin 6

4 Cristine Dean 136 Hyde Rd., Prospect Limenck

29, 41 Willie Heron

73 Micky Donnelly co The Arts Council of N.l. 181 A Stranmills Rd. Belfast

19 Pauline Doyle 34 Newton Parks Skerries Co. Dublin

28 Kathl Edwards

1 13 Frances St. Newtownards Co. Down

74 Brendan Howard Kilrush Rd. Ennis Co. Clare

60 Robert Janz c/o Oliver Dow ling Gallery 19 Kildare St. Dublin 2

Mae Villa Newtowncunningham Co. Donegal

65,64 IRoy Johnston c/o David Hendriks Gallery 119 St. Stephen's Green Dublin

51 Simon English Glanmore Charleville Co. Cork

33 Mary Fitzgerald 14 Rathmore Tee. Bray Co. Wicklow

62 Pauline Fitzgerald 'Ardlea' Knockbrack East Lisnagry Co. Limerick

69 Kevin Flanagan 29 Borris Rd. Portlaoise Co. Laoise

9 DJ/SJ at FOMT. c•o 69 Shares Hill Rd. Kilwaughter Co. Antrim

18 Eithne Jordan 30 Kenilworth St. Dublin 6

6 Breda Kennedy 22 Rockbarton Pk. Salthill Galway

43 Patricia Langlois 'Raheen' 6 Coliemore Rd. Dalkey Co. Dublin

68 Joe Lee 9 Clinches Court Northstrand Dublin 3

10 Michael Lyons 45 De Courcey Sq. Glasnevin Dublin 9

31 Ron Melling 12 Marie O'Connell 27,26, 30 Tullig School Dublin Rd Dripsey Clane Co. Cork Co. Kildare

71 Simon Moller 16 Mary P. O'Connor 48, 45 1 Bishop's St. Verden l1menck Montford Pk.

Mardyke 39 Michael Mulcahy Cork

Helvick Dungarvan 72 Gwen O'Dowd 36 Co Waterford 8 Villiers Rd

Rathgar 8 Audrey Mullins Dubhn 6

9/10 Bridge St. Carrick-on-Suir 67 Bill O'Fiynn 3 Co. Tipperary 7 Sunmount

M1htary H1ll 23 Reggie Murphy Cork

'Tir na-nOg' King Quay Lane 76 Noreen O'Hare 54 Black rock 22 Eglantine Ave Cork Lisburn Rd.

Belfast 1 Antonia M cGuane 96DX

34 Purcell Pk. 3 2 Shannon 34 Paul O'Keefe Co Clare c;o Oliver Dowling Gallery

19 Kildare St 25 Deirdre M cloughlin Dublin 2

62 Mountjoy Sq. 66 Dublin 58 Jennifer O'Sullivan

50 Cahergal lawn 21 Evin Nolan Ballyvolane Rd.

58 Agnes Rd. Cork Dublin 12 63, 56

15,17 Siobhan Piercy 46 lloyd Nolan An & Design Dept.

3 Beech Park Grove Galway R.T.C. Caherdavin Lawn Dublin Rd Limenck Galway

75 Jill Nunn 7 Nigel Rolfe c/o Old Schoolhouse co Oliver Dowling Gallery lnstioge 19 Kildare St. Co. Kilkenny Dublin 2

22 Anthony O'Carroll 49 lisa Scholand c/o David Hendriks Gallery Fisherstreet 119 St. Stephen's Green Doolin Dubltn Co Clare

59 Eilia O'Connell 'Feirm Ban' Spur Hill Doughcloyne Togher Cork

52, 35 Blaithin Sheerin 35 Mountainview Rd Ranelagh Dublin 6

Purchase of works in Exhibition

Bob Sloan No work can be marked as 58 Upr. Mealough Rd. sold unless a deposit as part Belfast of the catalogue price is paid. BT8-8LR

If any purchaser who has Victor Sloan paid a deposit on a work, hast 18 Kernan Grove not completed the contract by Ponadown paying the full catalogue BT62 SRX price of the work on or before Co Armagh 31 January 1983, the contract

Stephen Snoddy will be null and void and the

c;o The Ans Counc1l of N.l deposit forfeited. 181 A. Stranm1lls Rd. Belfast

Gerda Teljeur 22 Trafalgar Tee. Monkstown Co. Dublin

Donald Teskey R1versdale Cottage Lwr Churchtown Rd. Dubl1n 14.

Charles Tyrell o o Taylor Galleries 6 Dawson St. Dubhn 2

Samuel Walsh Ballymacreese Ballyneety Co Limenck

Joe Wilson Balhngoola Grange Co l1menck

Cheques should be crossed and made payable to the Limerick Exhibition of Visual Art

Purchasers are advised to note that possess1on of works will not be possible until the Exhibition has finished its run.

Persons wishing to purchase works are requested to commun1catewith a member of the Committee or the Exhibitions's Attendant.

The utmost care has been taken in the compilation of thts catalogue, but the Committee does not hold itself respon· sible for any errors.

A cknowledgments

The Committee gratefully acknowledge the assistance of:

The Arts Council/An Comhairle Ealaion. The Arts Council of Northern Ireland. The Art Gallery Advisory Committee, Limerick. Triskel Arts Centre, Cork. Project Arts Centre, Dublin. Limerick Corporation. Marian Fitzgibbon, Regional Arts Officer. Mechanics Institute, Limerick. Thomond College, Limerick. Irish Elsevier Printing Catalogue Mary Nagle Des1gn Joe Wilson Photography Dan Ryan Truck Rentals Transport Lacey, Droog, O'Donovan, Boland Auditors David Allen. Maiden Billboards

Committee 1981/82

Hugh Murray Chairman Charles Harper Co-ordinator Tony Rodgers Treasurer Samuel Walsh Press Officer Lorraine Wall Secretary Don MacGabhann John Logan Committee Paul O'Reilly Administrator

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