LIMERICK EXHIBITION OF VISUAL ART

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LIMERICK EXHIBITION OF VISUAL ART

Introduction

This year EVA reverts to its previous format of open entry and selection by a foreign adjudicator, after last year's successful presentation of invited New Work by Past Winners.

Over three hundred entries were received from drop points in Belfast, Dublin, Cork & Limerick. Fifty five were selected, two of which were sculpture, the remainder being graphics and painting. The Sculpture prize was not awarded. The Committee decided to withhold the award of £500 and add it to next year's Sculpture Award in the hope that this will help to improve the standard of entry in this section of the Exhibition.

Normally, the selection of such a low number of works reflects the lack of hanging space in Limerick's Municipal Gallery but this year Peter Fuller's opinions had a considerable bearing on this. (c. f . Adjudicator's Note, which follows) The selection could be considered controversial. Fuller's assertion that photography is not art and that constructions in mixed media have yet to become sculpture will raise some eyebrows and hackles. The equating of New Expressionism with Bad Painting, ipso facto, should set the scene for harsh words amidst long pints. But such is the almost inevitable outcome if one person is to be asked to sit in judgement of an array of works in a small town on the western seaboard of Europe, particularly if that person is as unfamiliar with the personalities of Irish

Contemporary Art as he is familiar with International Contemporary Art itself.

Fuller's biography makes impressive reading and if his Adjudicator's Notes appear flippant by virtue of their matter-of-fact clarity his writing merit reading if the reader is to have an informed opinion on his point of view.

After last year's hosting of EVA in Belfast and Dublin, this year's EVA is on show in Limerick only. This is a matter of some regret to the committee but the cost and effort of having more than one venue is daunting. Next year we are hopeful of showing at one other venue in the provinces and would welcome approaches from any community or organisation that would like to see EVA on show in their locality.

My introduction to the previous two catalogues bemoaned the lack of a sizeable art exhibition space in Limerick. It is wonderful to be able to record that the Municipal Gallery will have greatly increased space after the move of the City Library to the Granary. Let us hope that adequate funds are made available for converting the old Library area into a suitable exhibition space. This will require much more than a mere change of label if this attractive space is to have adequate display surfaces and suitable lighting. I also urge the appointment of an exuberant administrator who is prepared to go out and seduce or cajole, or both, the public and exhibitors into using what could

be a very fine addition to Limerick's burgeoning cultural life. There should also be an annual budget allocated for the purchase of works of art so that the permanent collection oft he City Gallery can grow into a heritage in which the citizens of Limerick can take pride. Money for such a purpose is in all too short supply from Government sources but where imagination and fervour is applied local sponsors have not been found wanting in the past.

This is a suitable juncture for me to thank profusely, yet again, the sponsors of EVA, whose names are catalogued later.lt is a truism to say that there is no money in making Art, at least not in Ireland. There is even less to be made in sponsoring it. To those indefatigable allies of ours who persist in insisting thattheywill gladly subscribe if only we will get off their backs, we can only say 'se do bheatha'.

To the Arts Council, whose miserly allocation offunds from the Government shrinks by the year and whose shortfall in budget for 1985 threatens the very existence of EVA, we say thank you for all your help and we assure you of our full support in the fight for decent funding for the Arts.

And to the Artists, selected and unselected, and Adjudicator, much thanks for the pleasure and interest you have brought to us in EVA '84.

Hugh Murray, Chairman EVA

Venue

Municipal Art Gallery PerySquare Limerick 20 October-17 November 1984

10.00 - 1.00/2.30 - 8.00 Monday- Friday 10.00 - 1.00 Saturday

Fringe events

Series of lectures on 'Aspects of Contemporary Art' being held in association with the Regional Management Centre, NIHE, Limerick.*

MimeArtistTom McGinty will perform in O'Connell Street from 20-27 October.

*'Artin 1984' by Peter Fuller, Art Critic and EVA '84Selector/Adjudicator. Wednesday 24 October 7.30 pm.

'Art and Exhibitions' by Pat Murphy, Director, Douglas Hyde Gallery, Dublin. Thursday 1 November7.30 pm.

'Art and Performance' by Nigel Rolfe, Performance Arti st. Thursday 8 November 7.30 pm.

' Irish Art in the Second World War­The Coming of Modernism' by Brian Kennedy, Assistant Keeper of Arts, Ulster Museum. Thursday 15 November 7.30 pm.

'The Politics of Irish Art' by Gerry Dukes, Lecturer in English, Mary Immaculate College, Limerick. Thursday 22 November 7.30 pm.

'Contemporary Irish Art' by Dorothy Walker, Art Critic. Thursday 29 November 7.30 pm.

'Experimental Art in Austra lia' by Noel Sheridan, Director, National College of Art and Design Thursday 6 December7.30 pm.

'Art as Spectacle' by Cyril Barrett, Doctor of Philosophy, University of Warwick Thursday 13 Decem ber7.30 pm.

Forfurther details contact Catherine McGeachy at 061-313644

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Sponsors 1984 ALL I EJ> l~f ;.H /jAtJK5 Aughinish Alumina Limited Bank of Ireland Burlington Industries (Ireland) Limited Elsevier Scientific Publishers Ireland Limited Guinness Peat Aviation Helene Modes Howmedica International Inc Hydrocurve Limited Kill morgan (Ireland) Limited Krups Engineering Limited Limerick Cargo Handling Limited Limerick Corporation Lombard & Ulster Bank Mid-West Branch - Royal Institute of Archi~ects of Ireland Molex SA Murray Sweeney & Co. Solicitors Neodata Limited Regional Management Centre Reynolds Cooper McCarron Stoneyard Limited, Limerick and Dublin Tulia Electronics Verbatim Limited Vitalograph Ireland Limited Wang Laboratories Ireland BV

Committee 1983/84

Chairman Hugh Murray Secretary Lorraine Wall Treasurer Paul Lynam Committee Charles Harper Vivion Bogan Brendan Lane Tony Rodgers Administrator Paul O'Reilly

Lecture Committee Paul Lynam Samuel Walsh Charles Harper

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1979 1980 1981 1982

1977 1978 1979 1980 1981 1982

1977 1978 1979 1980 1981 1982

1977 1978 1979 1980 1981 1982

1977

Previous Prize Winners

Patrons' Award Felim Egan Tom Fitzgerald Tom Fitzgerald Breda Kennedy

Painting Prizes Graham Gingles/Aian Robb Anthony O'Carroii/Siobhan Piercy Michael Coleman/Barrie Cooke • Michael Coleman/Jack Donovan Ben Stack Ann Carlisle •

Sculpture Prizes Robert McDonald/Eilis O'Connell David Leverette/James Buckley Roy Johnston Mike Fitzpatrick/Deborah Brown Danny McCarthy/Joanna Tracey Simon Moiler

Graphics Prizes Alan Green/Paul Mosse Joel Fisher/Brenda Kelliher John Aiken/Joseph Lee Michael O'Neill/Don MacGabhann Donald Teskey/Miriam Flanagan Willie Heron

Honourable Mentions (at the discretion of the adjudicator) Patrick Harris, Daniel O'Gorman, Benedict Tutty, lan Sutherland, Michael O'Neill

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Awards

Patrons' Open Award £1,000 Jim Manley The Battle of M aghrath and Sweeney's Flight.

Painting Prize £500 Camille Souter Over November Fields

Graphics Prize £500 David Lilburn Towards 'From The Forceps To The Chains Of Office'.

Sculpture Prize £500 Not aw arded.

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Peter Fuller, Adjudicator

Peter Fuller is one of Britain's most distinguished and controversial art critics. Although sometimes associated with the 'social critics' ofthe early and mid 1970s, Fuller has recently developed an independent position emphasising the importance of imagination and the material processes involved in the production of art. Fuller's work excites a continuous stream of argument and polemic.

Peter Fuller was educated at Epsom College and Peterhouse Cambridge. In 1968, he came to' London and worked on a local paper, City Press, for a year. Since 1969, he has made his living as a freelance writer, critic, lecturer and broadcaster.

In the early 1970s, Fuller's articles appeared in such magazines as Arts Review, Art & Artists, and The Connoisseur, at that time, he also wrote extensively for the alternative and underground press. In 1971/2, he was Home News Editor of the photo-news weekly, 7 Days. He has also been associated with the magazine New Society, since 1970. Full~r contributed extensively to Studio International from 1975 and, from 1976, began to contribute to Art Monthly, with which he has been closely associated ever since. His articles and reviews have also appeared in numerous other publications, including The Guardian, The Times, Times Literary Supplement, New left Review, New Statesman, Aspects Artscribe, etc. In America, his work has appeared, for the most part, in Artforum, Art news,

Village Voice and the Soho Weekly News.

In 1980, Writers and Readers published three of Fuller's books: Art and Psychoanalysis, Beyond the Crisis in Art, and Seeing Berger. In 1981, Abrams in New York published Robert Natkin. Michael Dibb of BBCTelevision's 'Arena' programme, made a film about Fuller's work on Robert Natkin's abstract painting and psychoanalysis.

Fuller has written a number of books not connected with the visual arts. These include The Psychology of Gambling, ed. with Jon Halliday, 1974; and The Champions: A Psychoanalytic Study of the Heroes of Sport, Allen Lane, 1978. His f iction has appeared in the Arts Council collections, New Stories 1, and New Stories 2.

Peter Fuller has contributed to numerous conferences and seminars on the visual arts, and was co-organiser of the Institute of Contemporary Arts influential 'State of British Art' conference in 1978. 1n 1981, he lectured at the Tate Gallery, on 'Art and Biology', to commemorate 150 years of British Association for the Advancement of Science. Fuller has also lectured extensively in art schools, colleges and universities in Britain and America. From 1980to 1981 he was 'Critic in residence' at Newcastle Polytechnic.

Adjudicator's Note

When Charles Harper invited me to come to Limerick to select EVA's 1984 exhibition from an open submission, I had no idea what to expect. My knowledge of Irish Art was largely confined to Celtic crosses in English museums, a facsimile of the Book of Kells, an admiration for Jack Yeats, an acquaintance with the work of Francis Bacon, and a few unread copies of Circa.

I decided not to inform myself further.l did not have time to make an in-depth study of Irish art, past and present; and as we all know a little knowledge is a dangerous thing. I was afraid it might incline me to fall back on established reputations, i.e. to escape into the judgements of others. Nonetheless, I must admit that when I arrived at Shannon Airport, I felt vulnerable. Ireland simply seemed so far away from those theatres of aesthetic struggle with which I was familar.

This feeling was accentuated when I was whisked into those bleak store-rooms in Parnell Street where all the works were gathered together for my adjudication. I was immediately aware of the insufferable arrogance of what I was doing.l had come to Limerick with nothing to declare except my judgement! I felt exposed; but I also experienced a sinking sensation of disappointment. A quick skim ofthesubmission convinced me thatthe average standard was not high. I was relieved I was only required to select fifty or sixty works from four orfive hundred.

In one sense, I thought it a very pure sort of aesthetic exercise to make choices from a large body of work when I did not know anything about the artists involved. In this situation, you cannot avoid that sort of intimate relationship with individual works out of which good criticism ought always to spring. (It rarely does of course.) But I was quickly aware that I had no props to support me, no ready-made tendentious barriers behind which my taste could retreat when it doubted itself.

So what wastherethisyear? Firstly, it is clear thatthe Republic has not succeeded in insulating itself against that strange, spreading anal-expu lsive disease of contemporary aesthetic life: New Expressionism, or Bad Painting, call it what you will. This highly infectious disorder leads to the excretion of enormous quantities of loose paint, which are applied to canvases the size of cricket pitches in brash, slovenly, and, to my taste, distinctly unappealing ways. Many new Expressionists seem to think that simply by inflating the size oftheir canvases they have solved the problems of scale. But they haven't, of course. And I was therefore able to dispose of an extraordinary acreage of art really rather quickly.

Naturally, I looked carefully at all the many photographs submitted: none ofthese succeeding in shifting my hardening conviction that photography is not art. They all therefore joined the

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Neo-Expressionist expanses. There was very little sculpture worth looking at, either. Sculpture is an art rooted in carving and modelling.! have yet to see a 'construction' in mixed media which carries complete aesthetic conviction, and most of the shoddy assemblages sent in to EVA left my prejudice intact. Unfortunately, such carving and modelling as there was hardly rose to an exemplary standard, and I therefore felt unable to award a sculpture prize.

Once some of this clutter had been removed, however, I began to realise there was rather more work of real interest than I had at first envisaged. Two paintings by Jim Manley stood out for me early on; I soon decided they were contenders for the prestigious Patron's Prize, which I eventually awarded them. These subtle and suggestive scenes of naked armies clashing and melting into hazy green landscapes seemed infinitely more convincing and evocative to me than those acres of neo-expressionist excremental

• • VISIOn.

Until very recently, the reductionist tendencies of modernist art have tended to obscure the achievements of good (and bad!) figurative painting, and landscape, alike. I must admit to having dealt somewhat abruptly with the sophisticated yet a 11-too-often quite sterile tastes and paleo-post-painterly abstraction, conceptualism, etc. These things only ever had the slender virtues

of newness, and now they don't even possess that. Much ofthis sort of work - though often presented with a veneer of professionalism - is really just dead mannerism.! am sure that it is in this area that my sins of omission will have offended most deeply against that established hierarchy of reputations in Irish art ... But I have never been a great enthusiast for the late Modernist pyramid of power, in England, America, or anywhere else. Most first-year student painting really is of more interest to me than, say, Carl Andre's bricks, Richard Serra's all-black walls, Warhol's ineptitude, or Hamilton's pornography. These excluded can take heart from the fact that I regard them as no worse than such distinguished modern 'masters'

Personally, I was much more interested in the varieties of Irish landscape painting. Here there is some beautiful, fresh and original work. I particularly enjoyed Camille Souter's marvellous Over November Fields, although I readily admit it took a long time for the picture's subtle, evocative qualities to begin to work on me. The crudeness of the selection procedure is perhaps indicated by the fact that over-night this eventual prize winner was still 'lost' among the towering, over-inflated ten footers in the reject room. I also enjoyed Eamon Colman's sense of colour, mystery, and imagination; Lorraine Wall's abstracted landscapes; and Melissa Crawford Murphy's fine, Ruskininan pastels of trees.

I was aware that those who were watching me work, and physically shifting pictures around for me, did have a hierarchy ofvaluesto refer my choices to. Silently, they were forming a judgement of my taste. Indeed, since each shift tended to involve the shunting of a work from one part oft he space to another, they had little choice butto trace all my errors and vacillations, my back-tracking and arguments with myself. As someone used to publishing judgements in the form of printed articles, I found this mildly embarrassing. Usually, only my dust-men can know about the vacillations that lead up to 'authoritative' aesthetic decisions, and I don't expect they are very interested.

And yet, even before the end of two long days, I would have strongly defended EVA's courageous decision to allow a single, outside adjudicator to select from the open submission each year. I am sure the idea of bringing in a 'vertical invader' produces its own distortions and anomalies; nonetheless, it ensures that the artists and audience interested in Irish art get a fresh view of it each year. Moreover, this method of selection allowsforthe possibility of an exhibition which is itself an imaginative act, which has at least something in common with the creation of a picture or sculpture. I have never been convinced that patronage by committee is the best way of going about things in the arts: it leads to accommodations and concessions, and tends to iron

out those risks and idiosyncracies of inclusion and omission upon which a good exhibition of EVA's kind depends. Even so, I was acutely aware in selecting this showthatthe adjudicator is really much more like the bricoleurthan he is like an artist. He can make the most of what he has got; but however much he prunes, accretes, and juxtaposes, he can, of course, never go any better than what is there.

But not all the expressionist painting sent in was simply Nee-Expressionistic fashion. Some of it was concise and authentic. Perhaps not surprising ly, many younger Irish artists seem to be looking at Francis Bacon's work again : more probably will after his big Tate shownextyear. (Bacon has always insisted that he is an illusionist, in the Grand Tradition, who had nothing to do with expressionism.) But the works these younger Irish artists are making can be much more than Baconian pastiches. I particularly enjoyed the painting of Richard Slade, and David Lilburn. I awarded a prize to the latter. Both these artists were conspicuously using the figure itself - and not justthe substances and processes of painting -as a means of expression.

This expressive, though non-expressionistic, use ofthe figure connects with its rediscovery through drawing, something immediately apparent in the successfully laborious pencil work of James Savage and Joanna Robertson's impressive

yet over-sized picture, Circumstance. These images clearly parallel a tendency in English art which is, in part, a reaction to the dirty, wooly wake of Nee-Expressionism, namely the revival of 'hard-won' imagery and traditions, of ways of depicting the figure rooted in empirical accuracy.

It will be clearfrom what I have already said that I believe good art involves an imaginative response to natural form ­anatomical and landscape-in the context of a vigorous and lively sense oftradition. Good art, in other words, is rooted in drawing, not in some historicist conception of a modernist continuum of ever-evolving styles.

Nonetheless, I also agree with Clement Greenberg that aesthetic quality is established by results, never through methods or means. The idea of 'Criteria' which can test aesthetic effect is a very dubious one: it leads to tendentious or sectarian taste, which I detest. I therefore make no apologies for the presence in this exhibition of a group of grid-based abstract, or near-abstract works, which some might (wrongly) take as being at odds with my stated aesthetic. As it happens, these imaginative variations and improvisations add up to a section ofthe exhibition with which I am particularly pleased ...

Peter Fuller

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Patrons' Open Award £1,000

Jim Manley The Battle of Maghrath Watercolour 55 x78

Sweeney's Flight Watercolour 54X77

Biographical note Born in St. Helens, Merseyside 1934. Attended Manchester College of Education. Came to Ireland 1970. Elected Associate ofthe Royal Ulster Academy 1983. Awarded the McGonigal Prize, Oireachtas Exhibition 1978. Won the 'Percy French Watercolour Competition', Co. Down 1984. Regular Exhibitor in North and Sout h of Ireland, including EVA, Oireachtas and RHA.

Painting Prize £500

Camille Souter Over November Fields Oil on Paper 52 X66

Biographical note

Born in Northampton 1929. Came to Ireland 1930. Awarded Italian Government Scholarship, 1958 and worked for one year in Italy. Represented Ireland at the Paris Biennale 1961. Awarded Gold Medal at Oi reachtas 1973. Won the Gainey Award in 1975, the 'Prix de Ville de Monaco' in 1977 and won at Claremorris in 1978. Exhibits regularly at home and abroad including 1971 Rose and 'The Delighted Eye' in London.

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Graphics Prize £500

David Lilburn Towards From the Forceps to the Chains of Office Monotype 30 X 21

Biographical Note Born in Limerick 1950. Studied at Trinity College, Dubl in and Limerick School of Art and Design. Has exhibited regularly in group shows in Ireland since 1976. Prize winner, Listowel Graphics Exhibition 1977.

• This year: two-man show with Joe Wilson, Craigavon. Also RHA and Irish Independent Artists. At present works as a designer in the Audio Visual Unit, NIHE, Limerick.

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The Exhibition

All measurement in centimetres height x width x depth.

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John Aiken 1 The snow white rose of Paradise

Mixed 89 X 72 N.F.S.

Carmel Benson 3 Blue Bug

Etching 21 X 26 £44

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Brenda Andrews 2 Transformations

Pencil/Pen 34 X 26 £70

Melanie Le Broc:quy 4 Figures on a bridge

Bronze 19 X 20 x 10 £550

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Mary Burke 5 Studio Window

Pastel 30 X 51 £140

Niamh Collins 7 No Title

M ixed 52 X 72 £120

Nlamh Collins 6 Burning Lights

M ixed 42 X 50 £120

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James Savage 8 Man at a Table

Penci l on Paper 172 X 87 N.F.S.

Eamon Colman 9 St. Anns

Mixed 30 X 25 £95

Micky Donnelly 11 Untitled

Acrylic/pastel 121 X 90 £350

Eamon Colman 10 Druids Hi//

Oil 76 X 65 £220

Paul Finnegan 12 Theatre of Talk

Mixed 71 X 52 £150

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Mike Fitzpatrick 13 The lest conversation

Charcoal 99 X 73 £160

Lenzing Friederike 15 Wedding

Monotype 60 X 60 £120

Mike Fitzpatrick 14 Breaking Point

Silver Birch 120 X 18 X 20 (280

Laurence O'Neill 16 Untitled

Acrylic/Oil 60 X 44 £125

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Pam Harris 17 Blown Away

Oil/pastel 46 X 44 £150

Edmond Leahy 19 Vision Encountered

Acrylic 145 X 135 £300

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V . Kelbaert 18 Best horse in its field

Mixed 50 X 40 £95

Charles Harper 20 Living Units

Acrylic on cotton duck 152 X 152 £1,400

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GRAPHICS AWARD

David Lilburn 21 Towards From the Forceps to the Chains

of Office Monotype 30 X 21 £60

Breda Lynch 23 Untitled

Mixed 47 X 35 £100

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David Lilburn 22 From From Duivendrecht to Daragh

Monotype 30 X 21 £60

Michael Wilkins 24 Untitled

Oil Pastels 40 X 30 (65

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PATRONS OPEN AWARD

Jim Manley 26 The Battle of Maghrath

Watercolour 55 X 78 £300

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Marie-Louise Martin 27 Zelda

Etching 50 X 33 £1 10

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PATRONS OPEN AWARD

Jim Manley 26 Sweeney's Flight

Watercolour 64 X 77 £300

Marie-Louise Martin 28 Sophie

Etching 49 X 33 £120

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Henry Morgan 29 Phyrro Cephaly

Mixed 72 X 48 £175

Melissa Crawford Murphy 31 Trees

Pastels 64 X 49 £150

Nanny Mulder 30 Looking for Raphael

Mezzotint 10 X 12 £50

Melissa Crawford Murphy 32 Whitethorn in Winter

Pastels 64 X 49 £150

Jame• M cCarthy 33 Wrestlers

Gouache 50 X 43 £150

Tom O'Brien 35 Untitled

Charcoal 114 X 76 £180

Jill Nunn 34 Jungly Garden No. 4

Acrylic on Board 122 X 92 £300

Tom O'Brien 36 Road and Cloud

Charcoal 84 X 46 £120

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Mary O'Shea 37 Strolling

Pastels 49 X 52 £90

Paul O'Keeffe 39 Form of Miarichi

Mixed 67 X 44 £200

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Geraldine O'Reilly 38 Bi-directional Rotation

Wash/Pencil 60 X 60 £150

• Robin Forrester

40 Burren Flowers Tempera 76 X 54 £220

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John O'Donoghue 41 Primal Priapism

Ink 62 X 48 £295

Joanna Robertson 43 Circumstance

Oil 186 X 162 £600

Gay O'Shea 42 Guardians & Other Goodies

Etching 49 X 66 £80

Joanna Robertson 44 Man Clutching His Foot

Charcoal 79 X 62 N.F.S.

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James Sheehy 45 Waiting Room

Aquatint 34 X 49 £65

Richard Slade 47 Voices on the Plateau

Oil & Mixed on Board 122 X 106 £350

Jacqueline Stanley 46 Caranhi/1, 3 Levels

Graphite/Charcoal 150 X 119 £650

Richard Slade 48 In the Shadow of the Tower

Oil 89 X 63 £250

Christopher O'Brien 49 How do we know the dancer from the dance

Collage 77 X 88 £200

Alice Higgins Morgan 51 Diogenes of Sinope

Mixed 150 X 120 £350

PAINTING AWARD

Camille Souter 50 Over November Fields

Oil on Paper 52 X 66 £700

Pleun Volker 52 Falling Apart Ill

Acrylic/Oil 80 X 60 £250

Lorraine Wall 53 Growth Series VII

Mixed on Japanese Paper 64 X 98 £280

J .J . Macken 55 Dream Landscape

Watercolour 41 X 39 £300

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Lorraine Wall 54 Trench

Mixed on Handmade Paper 57 X 69 £220

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List of Exhibitors

1 John Aiken 16 Laurence O'Neill 30 Nanny Mulder 43,44 Joanna Robertson c/o Oliver Dowling Gallery 16 Lower Dominic Street 30 Ma pas Avenue Hawthorns 19 Kildare Street Dublin 1 Dalkey Atmospheric Road Dublin 2 Co. Dublin Dalkey

17 Pam Harris Co. Dublin 2 Branda Andrews 6 Church Avenue 31,32 Melissa Crawford Murphy

80 Wolfe Tone Street Rathmines Kilgarvan 45 James Sheehy Limerick Dublin 6 Killarney 'Helvick'

Co. Kerry Ballincollig 3 Carmel Benson 18 V . Kelbaart Co. Cork

9 Tivoli Terrace Ballyculhane 33 James McCarthy Dun Laoire Kildimo Market Square 46 Jacqueline Stanley Co. Dublin Co. Limerick Dunmanway 145 Tritonvi lle Road

Co. Cork Dublin 4 4 Melania La Brocquy 19 Edmond Leahy

c/o Taylor Galleries Clashdrumsmith 34 JIIINunn 47,48 Richard Slade Dawson Street Emly The Square 29 Rosendale Gardens Dublin 2 Co. Tipperary lnistioge Corbally

Co. Kilkenny Limerick 5 Mary Burke 20 Charles Harper

42 Larchfield Road 3AshCiose 35,36 Tom O'Brian 49 Christopher O'Brian Goatstown Elm Park 35 Sycamore Avenue 4 St. Assams Road West Dublin 14 Castletroy Rathbane Raheny

Limerick Limerick Dublin 5 6,7 Niamh Collins

3 Strode Street 21,22 David Lilburn 37 Mary O'Shea 50 Camilla Soutar London SW 6 Rien Roe c/o 24Aranleigh Court 23 Charleville Avenue

Adare Rathfarnham North Strand 8 James Savage Co. Limerick Dublin14 Dublin 3

The Lodge Lough Gur 23 Breda Lynch 38 Geraldina O'Reilly 51 Allee Higgins Morgan Grange Barrington Avenue New Art Studios 10 Netherlands Park Bruff Ballintemple 2/3 Mary's Abbey Dunmurry Lane Co. Limerick Cork Dublin 7 Belfast

9,10 Eemon Colman 24 Michael Wilkins 39 Paul O'Keefe 52 Plaun Volker 16 Eustace Street clo Greenacres c/o Oliver Dowling Gallery 54 Sunday's Well Road Dublin 2 Ferry Road 19 Kildare Street Cork

Fountainstown Dublin 2 53,54 Lorraine Wall 11 Micky Donnelly Co. Cork

22 Eglantine Avenue 40 Robin Forrester Inch beg Belfast BT9 6DX 25,26 Jim Manley 82 Nth. Main Street Ennis

Ardmore House Bandon Co. Clare 12 Paul Finnegan Downpatrick Cork

Flat 1 Co. Down 55 J. J.Macken 50 Cromwell Road 41 John O'Donoghua 1 Parkmore Drive Belfast 27,28 Maria-Louisa Martin Ard Mhuire Terenure

l 9 Estate Cottages Cappa more Dublin 6 13,14 Michael Fitzpatrick Shelbourne Road Co. Limerick

Cion money Ballsbridge Newmarket-on-Fergus Dublin4 42 Gay O'Shea Co. Clare 7 Sidneyville

29 Henry Morgan Bellevue Park 15 Lanzing Friederike Moore Street Cork

7 Adelaide Place Cappa more Cork Co. Limerick

Purchase of works in Exhibition

No work can be marked as sold unless a deposit as part oft he catalogue price is paid.

If any purchaser who has paid a deposit on a work, has not completed the contract by paying the full catalogue price of the work on or before31 January 1985, the contract will be null and void and the deposit forfeited.

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

Purchasers are advised to note that possession of works wi II not be possible until the Exhibition has finished its run.

Persons wishing to purchase w orks are requested to communicate with a member of the Committee or the Exhibitions' Attendant.

Acknowledgements

The Committee gratefully acknowledges the assistance of:

FBD Insurance

An BordTelecom

Triskel Arts Centre

David Alan Billboards

Project Arts Centre

Municipal Art Gallery

The Arts Council

The Arts Council of Northern Ireland

Dan Ryan Truck Rentals ' Radio Telefls Eireann

Peter Cutting Photography

Mary Nagle Design

The utmost care has been taken in the compilation of this catalogue, but the Committee does not hold itself responsible for any errors.

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