EV+A 90 Climate• of Thought

With the assistance of the Arts Council and the Arts Council of Northern Ireland.

Venues

EV+ A 90 Climates of Thought

Limerick City Gallery of Art Pery Square Limerick 061-310633

10 March-21 April 1990

10.00--6.00 Monday-Friday 10.0o-1.00 Saturday 2.0o-5.00 Sunday

Late opening to 7.00 Thursday

Cork Crawford Municipal Art Gallery Emmett Place Cork 021 -274567

9 March-28 March 1990

10.0o-5.00 Monday-Saturday

As a special feature of E V+ A 1990 the Gallery will be open during lunchtime Mondays to Fridays.

Young EV+ A 90 Out of Hospital

Belltable Arts Centre 69 O'Connell Avenue Limerick 061-319866

9 March-30 March 1990

10.0o-9.00 Monday-Saturday

Continuation of E V + A 89 New Work of Past Winners 1984 88

Sligo Sligo Art Gallery Hyde Bridge Sligo 071-45487

26 February-17 March 1990

1 O.Oo-5.00 Monday-Friday 1 O.Oo-1.00 Saturday

Kilkenny Butler Gallery Kilkenny Castle Kilkenny 056-61106

7 ApriJ-28 April 1990

10.0o-5.00 Every day

Chairman's Statement

Welcome to EV+ A90.

After our review format of E V+ A 89. we return to the format of the single foreign adjudicator. We were very pleased and honoured to have Sa ski a Bos of the Appel Centre in Amsterdam to carry out this work.

Young EV+ A continues to hold a central place in the role of EV+A as a promoter of contemporary art within the community.

You are recommended to visit the "Out of Hospital" Exhibition running concurrently in the Belltable. This was generated by students of Hospital, Co. Limerick under the tutelage of EV+ A Artist, Jim Manley as part of the " Artist in Residence" scheme sponsored by Young EV+ A.

In addition, there is a superb programme of visiting EV+ A artists in the City Gallery throughout the Exhibition plus a series of evening lectures/discussions. Full details are available in the catalogue.

As ever, we greatly welcome everybody's participation in these events. We particularly welcome school groups and suggest that interested Teachers and Pupils should make prior arrangements with Paul O'Reilly, the Curator of the Gallery to avoid overcrowding (Ph. 061 -310633).

EV+ A 89 is still touring the country taking in many venues including Wexford, Dublin, Cork, Sligo and Kilkenny.

In conclusion, I must thank very deeply all those who have contributed to EV+ A, especially the Arts Council, our Sponsors, the dedicated Committee Members, our Administrator and our helpers.

Hugh Murray 1990

EV+ A Committee 1990

Chairman Hugh Murray

Secretary Phil Nalty

Treasurer Seamus Brennan

Committee John Doorty Mike Fitzpatrick Sheila Deegan

Administrator Paul O'Reilly

Committee Members 1977-1990

Ursula Brick* Dietrich Blodau* Vivienne Bogan Mairead Byrne Gerry Dukes Tom Fitzgerald* Niall Greene Sean Hannigan Charles Harper* Kate Hennessy" Bob Hobby* Brendan Lane Susan Lane Terence Leahy* John Logan Paul Lynam Don MacGabhann Emer McNamara Willem Minjon* Simon Moiler Lorrayne Murphy Hugh Murray Robert O'Byrne Tony Rodgers Jim Savage Tom Shortt Lorraine Wall Louise Walsh Samuel Walsh

• denotes founder member

Sponsors EV+ A 90

THE ARTS COUNCIL

GPA GROUP L TO.

LIMERICK CORPORATION

SHANNON DEVELOPMENT

Aughinish Alumina Ltd.

Coopers & Lybrand

Elsevier Scientific Publishers (lrl.) Ltd.

Helene Modes

Howmedica International Inc.

Krups Engineering Ltd.

Mid-West Branch of the Royal Institute of Architects of Ireland

Murray Sweeney & Co. Solicitors

Murray O'Laoire Associates. Architects

Neodata Services Ltd.

Plassey Management & Technology Centre Ltd.

Don Reddan (Insurances) Ltd.

O.B.E. Insurance Co. Ltd.

Walsh Western International Ltd.

Hire A Van

E.S.B.

Allied Irish Bank

Bank of Ireland

Verbatim

Acknowledgements

The Committee gratefully acknowledges the assistance of:

The Arts Council/An Chomhairle Ealaion

The Arts Council of Northern Ireland

Belltable Arts Centre

Limerick City Gallery of Art

Radio Telefis Eireann

Limerick Corporation

Limerick Leader Ltd.

Andrew Kearney Photography

Liam Clancy Design

Noreen Gaffney Administration

Liam O'Connor Graphics

EV+ AEvents

An introduction to EV+A90will be given by Paul M. O'Reilly, Director/Curator of Limerick City Gallery of Art on Tuesday 13 March at 8.00 pm in the City Gallery, Pery Square.

A series of informal seminar/discussions with persons prominent in the arts attending will take place during EV+A 90 in the Limerick City Gallery.

The series is titled " Making Personal Sense ofEV+ A90".

The series will include: Kate Robinson, Critic Denis O'Driscoll, Poet on Tuesday 20 March at 8.00 pm.

Sean McCrum, Critic on Tuesday 27 March at8.00 pm.

Hilary Pyle, Critic Michael Robinson, Curator, Ulster Museum on Tuesday 3 April at 8.00 pm.

Lunchtime talks/tours of EV+ A 90 will take place each Tuesday from 1.15 to 1.45 pm.

Guided tours may be arranged on request for schools and other groups.

To book contact Paul M. O'Reilly Limerick City Gallery of Art Phone(061)310633

" Out of Hospital" Young EV+ A90Exhibition Artist in Residence: Jim Manley and Students of Presentation-De La Salle

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"Our plans at this stage are to work with historical themes connected with Hospital. In particular, Hospital's connections with the Knights Templars and the Crusades has suggested the making of some friezes. At the moment every art student in the school has been asked to contribute sketches on these themes to add to the ideas of the main group (5th Year). Hopefully, some of these friezes will be included in the Bel/table Exhibition".

Jim Manley 18January 1990

VoungEV+ A90

In response to the ever increasing interest in the Young EV+ A concept and programme, Young EV+A 90 has two sections: one centred on the work of students from a local school and the other centred on EV+ A 90 artists at work in the City Gallery.

Section One Out of Hospital

The Young EV+ A 90 Exhibition, entitled "Out of Hospital", on show in the Belltable Arts Centre is the result of work done between December 1989 and March 1990 by the artist, Jim Manley, a past EV+ A prizewinner (1984) and participant in EV+ A 90, and students of Presentation-De La Salle Secondary School in Hospital, Co. Limerick.

For some years the EV+A Committee has offered workshops for young people on a limited day-long basis. This year the idea extends to a full-term Artist in Residence Scheme.

"Out of Hospital" is the result of a collaboration between Jim Manley, the Artist in Residence and the students of Presentation-De La Salle. Their success is evident in the nature and depth of thought in the work produced. The EV+ A 90 Committee wish to congratulate and thank Jim Manley, Don MacGabhann, the art teacher, and the staff and administration of Presentation-De La Salle for hosting the first EV+ AArtist in Residence Scheme.

Section Two Arti•t• in the Limerick City Gallery

The concept began w i th EV+ A 89 as a way of bringing young people (and the audience at large) into contact w ith the contemporary artists featured in the exhibition. Based on the EV+ A 89 experience, the presence of artists in the gallery engaged in their work processes and discussing their ideas proved very excit ing for both audiences and artists alike. Those who participated were rewarded w ith a greater understanding of contemporary art.

Artists In the City Gallery

Marc h Tuesday 13 Wednesday 14 Thursday 15

Tuesday 20 Wednesday 21

Thursday 22

Tuesday 27 Wednesday 28

Thursday 29

April Tuesday 3

Wednesday 4

Thursday 5

Tuesday 10 Wednesday 11 Thursday 12

Tuesday 17

Wednesday 18 Thursday 19

Michael Cummins John Shinners Edmund Leahy

A.F.N. Manson Patrick Dolan

Michael Boran

Eileen Healy Ciaran O'Cearnaigh

John Moore

Joe Wilson James O'Nolan Joe Wilson! James O'Nolan Ken Hardy

John Cullen Padraig McCann Victor Sloan

Mick O' Kelly

Conor Regan Thelma Chambers

NOTE: To teachers and organisers

The scheme continues in EV+ A 90 and features eighteen artists, one of whom w ill be available in the City Gallery on each Tuesday, Wednesday and Thursday throughout the duration oft he exhibition. The details appear below.

Mike Fitzpatrick Young EV+ A 90 Organiser

Works in Progress Painting m the Gallery Paintmg DreamstWorkshop Slide Show

Concepts Towards Pamtmgs Ink, Water Colour, M1xed Media, Working Demonstration Photography and Assemblage Techniques

Work in Progress Landscape & Text A Metaphor of Identity Process and Slide Show The Drawn Painting Workmg on a Large Scale Graph1te Drawmg

Working Outside from an Elevated Position

Translating the Resultant Drawing into a Large Scale Mono Print Creat1on of a Mosaic Using Cloth and Paper

The Role of the Artist - Discussion/Activity/Slides Borders and Barriers • Drawings and Slide Show Manipulat ing the Photographic Image

Gender Conditioning · Slide Show Art and Housework + Discussion Spit/Bite Etching Demonstration Distempera Painting· Techniques and Slide Show

Please contact Paul O'Reilly, Limerick City Gallery of Art (061 ) 310633 for group bookings.

EV+ A 90 : The Weather' s Fine

The Exhibition of Visual+ Art carries fort he first time, in 1990, its own special title, Climates of Thought, the name given to it by the Adjudicator, Saskia Bos.

A dictionary shows the words to mean:

Climate - kind of weather or region of weather; hot/cold; dry/moist; clear/cloud; wind/calm.

Or more appropriately, in a figurative sense: - the condition of feeling that exists especially at some particular time.

Synonym: environment, surroundings

of belonging to, made from, containing

Thought - what a person thinks;

the power or process of thinking; care, attention, regard, intention, design, purpose, idea.

The title suits EV+ A 90 and stirs up ideas about how people deal with such an exhibition.

- EV+ A 90 provides access to ideas that come wrapped in, conditioned by, feelings. - Works of art do this separately and also join together in common ideas and feelings. - The very spaces that EV+ A 90 occupies have been hung to establish these patterns of thought

and feeling: thirty-five pieces in five distinct areas of the Gallery, a spare and concentrated arrangement.

- A climate as an environment is a complex integration of contrasting elements that affect a lithe senses of perception in complex ways.

- Perception of works of art, too, call for as full a participation of a lithe senses as people can possibly bring to the experience of the works.

- The more open the contact with the work of art is, the fuller the experience, just as with the weather.

- Feeling as an environment contains and conditions the thought, purpose and idea in a work of art.

- Every work of art is full ofthought-of some kind or another, and full of feeling-of some kind or another; full in the way a glass is full up to the brim and even above the brim, full the way every day is full of weather.

- What makes for the differences among works of art are the kindsofthoughts, the kinds of feelings that artists and audiences experience in the works of art.

EV+ A 90, so spare and finely tuned, puts an emphasis on such ideas. This, and the fact that EV+ A in the 1990s is well into its second decade of existence, puts such ideas, in turn, under a special pressure- concern about the future.

In the field of open exhibitions EV+ A has in hand a (not the) successful solution to the problem of adjudication; the single or double outside/foreign adjudicator given as completely free a hand as possible consistent ly provides quality exhibitions.

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Entries submitted toE V+ A range between four to five hundred works per exhibition. Fifteen percent (or less) are actually selected. This is another (if not the first) key to success. Al/the artists who enter work, especially all those u nselected, are the ones who keep EV+ A successful. As it happens, significant numbers of more established artists do not, or no longer, once established, enter their work in EV+ A. This gives EV+ A its characteristic slant toward younger artists and artists without established gallery or commercial reputations. Artists with the higher reputations at stake often shy away from the risks of the "sudden death" selection process. The resulting problem here is that E V+ A within its present format cannot in its entries offer the adjudicator a complete or comprehensive survey of contemporary art as it is actually" practised. The selected exhibition itself in turn, cannot claim to potentially represent the fullness of contemporary art in Ireland.

This situation could be and may be addressed and hopefully improved in future EV+ As. But it will take some doing. Climates of Thought would apply especially well to such a comprehensive exhibition .

Any such fu ture changes in the EV+ A format and all previous modifications or alterations to EV+ A procedures have a common purpose: to widen and deepen the access artists and audiences have to one another; to make the meeting between them as clear and direct as possible so that contemporary art might find and keep an audience ready and will ing to listen to what artists have to say in their work about their experience of the life and cul ture they share with that audience.

The Young EV+ A programmes of the past five years have been set directly to work in this area. EV+ A Events have always had that goal. E V + A 84 travelled to two venues; EV+ A 89to five, in order to extend the artist-audience contact. EV+ A itself in Limerick can draw as many as seven thousand people during a five week run. All to the good.

What is harder to measure is the quality of that artist-audience contact. It is harder, too, to find ways of increasing the "quality-contact" that happens between a work of art and i ts audience.

One sure way to fa il in this ambition is to proceed on the assumption that the audience needs to appreciate the art, to be educated into such appreciation. This is a patronising, condescending approach. People's likes and dislikes are their own business. There should be no attempt to seduce them into a change assumed to be for their betterment.

Often what damages the contact is the idea based on consumer experience that works of art are best taken as part of the entertainment- amusement industry. This passive, no deposit, no return, throw away att itude may actually apply to some works of art. But what makes them so keeps them to that extent from being art of any consequence*.

People remain merely tourists at an exhibition if al l they do is give an average five to three seconds (or less) of attention per work of art. Their refusal or inability to repeat visits. to extend listening time, reaffirms the tourist attitudes : " if you've seen it once, you've seen it, you have it, you've done it".

The damaging competition offered works of art by gallery or museum coffee shop/restaurants( book stores can turn such amenities into a disadvantage when these facilities lead people from dealing directly with the works of art themselves to treating art as a muzak-adjunct to other consumer behaviour.

Yet a gallery with an overbearing atmosphere of reverence and solemnity does little or nothing to strengthen the human contact between people through works of art. The artificiality of the whitened gallery atmosphere itself is often as off-putting as it is conducive to a listening attitude.

These comments hint at how difficult and complex the situations are when artists, works of art and their audiences. the people who VISit them, meet in the context of exhibitions and galleries. EV+ A continues to have a stake in such meetmgs and hopes to continue making ground against the problems that weaken what those meetings are meant to accomplish.

In 1990, as before, EV+ A moves in its spaces with confidence. The entries, the selection. the hanging, the statements, all stand in anticipation of something special. yet fundamentally basic to human behaviour, happening: people willing and able to come into, and feel the heat/cold, wet; dry, clear cloud. wind calm of contemporary art and think about who they are and where they are 1n the world they share as artists.

• A judgement here unsupported but dealt woth on A. G. Collingwood's Pnncip/es of An, Oxford,london,1938.

Paul M O'Reilly Moycarkey/Limerick

February 1990

Adjudicators 1977-1988

1977 Barrie Crooke John Kelly Brian King

1978 Adrian Hall Charles Harper TheoMcNab Coilin Murray

1979 Sandy Nairne (England) 1980 Brian O'Doherty (USA) 1981 Pierre Restany (France) 1982 Liesbeth Brandt Corstius (Netherlands) 1984 PeterFuller(Eng land) 1985 Rudi Fuchs (Netherlands) 1986 Nabuo Nakamura (Japan) 1987 Ida Panicelli (Italy) 1988 Florent Sex (Belgium)

Alexander Rozhin (USSR).

SaskiaBos Adjudicator Suskia Bos (born The Hague, 1948) studied art-history at the Universities of Groningen and Amsterdam and started her career as an art-critic at Kunstschrift-Magazine where she was an editor in chief from 1974 until1981.

In that year she moved to Kassel (West Germany) to work with the team of Documenta 7, editing the English/German catalogues. Since 1984 she has been Director oft he Appel Foundation in Amsterdam where until the present day she organises projects and exhibitions with contemporary artists of many different countries. In 1984 she was Commissarofthe Dutch Pavil lion of the Venice Biennale.

In 1986 she curated Sonsbeek '86, a large survey of international sculpture in ParkSonsbeek, Arnhem and in 1988 she co-curated Aperto '88for the Venice Biennale.

She contributes regularly to catalogues and art magazines and takes part in international conferences about art as well as juries (DAAD Jury, Berlin 1984 and 1989, M ies van der Rohe Jury, Krefeld 1989 and 1990).

Adjudicator's Statement

In general, choosing means selecting what you like the most or what you consider to be 'the best'. But choosing art as an adjudicator means something more; selecting what you like in relation to what you have already seen.

Paradoxically, this implies that you will choose what looks new or different, yet equally opt for what looks vaguely familiar, the consequence of what already exists. The 'new' work which does not relate to what we have already experienced, may be non-communicative and hence 'mute'. And the familiar, which does not provide a fresh or individual insight into what is familiar, is simply boring.

Thus a work needs to include both aspects: the (explicit or implici t) reference to the known as well as the personal vision. i.e. the translation of the known mto the realm of the unknown.

The contemporary art system (more than ever a network of magazines, galleries, organisers of mammoth exhibitions and collectors) exerts great pressure on young artists. Strategies and stardom seem to have become more important than the artist's individual position. What he produces needs only to d1ffer slightly from the accepted combinations of form and colour and should be immediately recognisable as well as easy to transport. But the sheer profusion of art and its popularity do not detract from the necessity for artists to make something that was not there before, and for organisers and adjudicators to detect the authentic, the genuine, the evidence of a personal development.

So how do you recognise quality? l think that gaining confidence in someone's work has a lot to do with

that first spark of surprise or amazement you feel at seeing a work, an impression that remains lodged in your memory. This is something you cannot categorise or 'file' immediately, it simply keeps f loating around in your mind. Although transmitted through formal means, it is the artist's attitude, his choice of theme, his approach and translation into new language which remains vital to this concept of mdividuality.

Within the free use of styles and media, an artist may keep th1s intrinsically authentic attitude, which can be recognised either now or in the future, as having been made within this particular period of time.

My personal choice out of the many works submitted to EV +A 90 was not simply a matter of awarding three prizes and selecting a group of good works. It was also heavily influenced by the idea of presentmg the works within the context of an exhibition where they would be given sufficient space to be seen for themselves and would not result in a colourful patchwork of separate objects placed on the walls.

"Climates of Thought" is a tit le that hints at the way I have been thinking about the different rooms and the groupmgs of individual works within these rooms. Some house passionate, large-scale paintings w ith loaded contents. Others accommodate works that emphasise the poetic or ethereal. Playful contrasts of signs and language systems seem to communicate with each other. A subtly narrative installation has been placed separately to allow it the space to speak for itself. The more abstract concepts concerning Nature or Man, translated

into text and photos or found images are challenged by an imaginative sculpture full of personal symbols which more than holds its own in this rather severe environment.

Here are personalities (or rather, personal worlds) as embodied by works of art that demand to be viewed on their own merits yet may well become more eloquent within the context of a reflective presentation. As if the combination of the unknown and the known, the new and the familiar, that exists within each single work, is also articulated through the differences and similarities between the works when seen together.

This presentation is the result of a particularly interesting invitation ofthe EV+ACommitteeand the Director of the Limerick City Gallery of Art. to consider not only the selection of works but also their installing and exhibiting.

I am certain that this will once more demonstrate just how beautiful these spaces are and how powerful they will become once restored to their full glory.ln an age where museums and galleries provide the locations for our experiencing of wonderment, these 'gardens of contemplation' must also generate the necessary dignity for the individual work of art.

Previous Award Winners

Patron's Award 1986 1979 Felim Egan Awards 1980 Tom Fitzgerald Michael Creaney 1981 Tom Fitzgerald Mary F1tzgerald 1982 Breda Kennedy Ann O'Regan 1984 Jim Manley 1985 Tracy MacKenna 1987 1987 Finbar Kelly Awards 1988 Eamonn Coleman Rory Donaldson

Tom Fitzgerald Richard Gorman Tom Fitzgerald

Painting Award 1977 Graham Ging les/Aian Robb 1988 1978 Anthony O'CarroiiiSiobhan Piercy Open Awards 1979 Michael Coleman/Barrie Cooke Peter Power 1980 Michael Coleman/Jack Donovan T.J. Maher 1981 Ben Stack 1982 Ann Carlisle 1984 Camille Souter 1985 Martin Yelverton

Sculpture Award 1977 Robert McDonald/Eilis O'Connell 1978 David Leverett/James Buckley 1979 Roy Johnston 1980 Mike Fitzpatrick/Deborah Brown 1981 Danny McCarthy Joanna Tracey 1982 Simon Moller 1984 Not awarded 1985 E1lis O'Connell

Graphics Awards 1977 Alan Green/Paul Mosse 1978 Joel Fisher/Brenda Kell iher 1979 John Aiken/Joseph Lee 1980 Michael O'Neill/Don MacGabhann 1981 Donald Teskey/Miriam Flanagan 1982 Willie Heron 1984 David Li lburn 1985 Triona Ford

Honorable Mentions (at the discretion of the adjudicator)

1977 Patrick Harris, Daniel O'Gorman, Benedict Tutty, Jan Sutherland, Michael O'Neill

Open Award £1 ,000

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D. Cross Mother (1988) Mixed Media Installation 233 X 245 X 275 £4,000

Dorothy Cross

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Biographical note

Born in Cork 1956

Educated in Crawford Municipal School of Art, Cork 1973-74; Leicester, England, B.A. Honours Degree 1974-77; Guest Student Gerrit Rietveld Academy, Amsterdam 1976; San Francisco Art Institute, USA 1978-79 and M.F.A. Degree 1980-82.

She has had solo exhibitions: Triskel Art Centre, Cork 1980, 83; "Contraptions", Hendriks Gallery, Dublin 1984; "Ebb", Doughlas Hyde Gallery, Dublin, Octagon Gallery, Belfast 1988; P.S. 11nstitute of Contemporary Art, N.Y., 1989.

Group exhibitions include: Goldsmith's Hall, London; Kilkenny Design 1978; Diego Rivera Gallery, San Francisco 1979,81; Intersection Gallery, San Francisco 1981; Ancient Currents Gallery and Emmanuel Wafer Gallery, San Francisco 1982; Artspace, Outai. Koshienguchi, 'Volm' group, Tokyo 1983; Hendriks Gallery, "Listowel Graphics" Project Arts Centre, lELA. GPA Emerging Artists, Dublin, 'Volm", Tokyo 1984; "Volm", Kid-ai, Luch Gallery, Cork Art Now (CAN) Cork, "Sculpture in the Chair". Smith's Gallery, London; Irish Women Artists. Battersea Arts Centre, London 1985; "Irish Art Now", Turin; "Six-in-the Sticks", Butler Gallery, Kilkenny, GPA Emerging Artists; "Figurative Image", Bank of Ireland, Dublin; Cia rem orris Open; "Volm" Tokyo 1986; SADE, Crawford Gallery, Cork; Irish Women Artists 1970-87, Dough las Hyde; "Volm", Tokyo 1987, 90; "Acquisitions in Context "Limerick City Gallery of Art; Battersea Arts Centre 1988.

Her awards include: Fitzwilton Art Trust Grant 1979; Arts Council Bursuries 1984-86; P.S. 1 Studio Grant, Irish American Arts Foundation, USA 1988. Presently lives and works in Dublin.

Open Award £1 ,000

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Padraig M cCann Bordering Persons Oil, Ink on Cotton 256 X 314 £1,000

Padraig McCann

Biographical note

Born in Cladai, Co. Armagh 1963

Educated at University of Ulster, Belfast 1985·88 with B.A. Hons. Fine Art Degree 1st class honours and 1988-89 M.A. in Fine Art.

He has exhibited in group exhibitions: Middlesex Polytechnic and Queens University 1986; The Otter Gallery 1987; Degree Show, University of Ulster; Taylor Awards, Royal Dublin Society; "Personal Choice" Narrow Wafer Gallery; Salon des Refuses, Royal Ulster Academy in 1988; Taylor Awards, R.D.S.; M.A. Postgraduate Exhibition; Belfast 9 New Art touring to Slaughterhouse Gallery, London and Irish life Exhibition Centre, Dublin; Print Exhibition, Harmony Hill Arts Centre in 1989.

His awards include: Highly Commended, Taylor Awards 1988 and Prizewinner. Taylor Awards 1989.

lives and works in Belfast.

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Padraig McCann Border Removal Oil, Clay, Emulsion/Cotton 258 X 197.5 £700

A .F.N. Manson

Biographical Note

Born Sussex, England 1955.

Educated at Malvern School of Art 1971-72; studentofYan Goulett R.H.A. 1977; Dun Laoghaire School of Art 1978·80. From 1980 on developed Residential Art Centre, Ballyorgan, Local Organiser of AAI.

He had a solo exhibition 1980 and has participated in group exhibitions: Exposure 1982; Irish Exhibition of Living Art 1983; National Portrait Exhibition 1985,87, 89; Irish Nationalist View, London 1985; IBETA Sunday Tribune Photocopy 1983,84, 86,87; RHA 1986,0ireachtas 1988; 1,2 and 3 Prize County Show 1989. He won awards: National Schools Award, England, 1967; Photocopy Art Awards 1983, 86, 87.

Lives and works in Redcross. Co. Wicklow.

A.F.N. Manson The Artistic Life (7989) Acrylic/Cotton 184 X 155 £800

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The·Exhibition

All measurements in centimetres height x w idth x depth.

Note: Placing a plus sign in the name Exhibition of Visual+ Art and logo EV+ A attempts to highlight the fact that the art activity (process and product) engages and integrates all the senses (we have eleven plus senses, far more than the traditional five) not mainly or only the visual sense,

1 John Shinnors Cows Come Home OiVCotton 72.5x112 £600

2 Damien Morris Untitled Oil/Cotton 91 X 138.5 £325

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3 A.F.N . Manson The Artistic Life (1989) Acrylic;, Cotton 184x155 £800

4 JohnMoore Tree Ghosts Graphite/Paper 150.5 X 250 £650

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5 Gerard O'Sullivan Industria/Accident 1 Oil/Cotton 162.5 X 1 62.5 £400

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6 Connor Regan KickCeilt Spitebite Etching 39.5x60 £200

7 Ronnie Hughes Not Wings Oil/Cotton 214x259 £800

8 JimManley Ressurection at Carricklirtle II Watercolour, Collage/Paper 89.5 X 69 £650

9 John Cullen Apathy Maintained by the Promise of Things to Come 1 Oil/Cotton 178x 178 £800

10 Cia ran O'Cearnaigh Siothlan Silte Cosaint DoThobar Mixed Media T ryptych 59 x 84.5 ea £450

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·-11 Padraig McCann

Border Removal Oil, Clay, Emulsion/Cotton 258 X 197.5 £700

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12 Padraig M cCann Bordering Persons Oil, Ink/Cotton 256x314 £1,000

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13 VIctor Sloan True Blues Hand Coloured Photograph 59x49 £1,750

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14 JamesO'Nolan Untitled Lithograph 96 X 70.5 £180framed £125 unframed

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15 Dorothy Cross Shark Lady In A Balldress (1988) Cast and Woven Bronze 110 x 70x 70 £3,000

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16 Dorothy Cross TheMother(1988} M ixedMed1a 233 X 245 X 275 £4,000

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17 KenHardy Nautical (1989) Mixed Media Oyptych 102 x 102, 102x39 £915

18 KenHardy Forensic 1 (1989) Mixed Media Trytych 59 x 59 ea £915

DIVIDE FRONTIER BOUNDARY

19 Mick O' Kelly Allegories of Geography Photograph (unique) 142.5 X 181 £950

PROPERTY

FIELD TERRITORY DISPLACEMENT

WATERSHED LANDSCAPE

MAP

SOIL

20 Mick O' Kelly Mind Your Place Photograph (unique) 142.5 X 181 £950

DOMAIN REGION

HORIZON

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21 JoeWilson Do You Get A Better View From Up There? Graphite/Paper 78.5 X 60 £300

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22 Joe Wilson That Cherry Tree Again Graphite/Paper 117.5x 119.5 £550

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24 Martin Yelverton Untitled 1989 Mixed Media 29 X 90 NFS

23 Eileen Healy Nosey Pokers Oil/Cotton 73 X 92 £400

25 Lochlann Alastair Hoare History Lesson Mixed Media Installation £1,000

26 Michael Cummins The Three Beatles AcryliC/Paper 53.5x74 £200

27 Martina Galvin Sylvan Spirit Oil/Cotton 73x92 £400

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28 Michael Hogg Spirit Level Pillow M ixed Media 16x60x43 £300

30 Thelma Chambers Chrome Summer (1988) Distempera/Paper Tryptch 38.5 x 28 ea £550

29 Eilis O'Connell Fig a Painted Steel 31x22x12.5 £850

31 Remco De Fouw Stone Sand Blasted Stone Sand, Text 6x 15x17 NFS

32 Patrick Dolan M usician (Tryptych) 1989 Ink, Watercolour/Paper 22.5 x 15.5 ea £375

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... a stone dropped into the ocean makes a hole in it, the hole closes in, the bubbles go up, the ripples go out, the stone goes down, the sea goes on, resting on the bed another 300 million years go by ...

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33 Edmond Leahy Nepal Chat Oil/Paper 59.5x73 £650

34 Michael Boran Eden Photograph 50x62 £140

35 Gerard Casey Blue Window Study Oil/Cotton 30 X 40.5 £250

List of Exhibitors

34 Michael Boran 17, 18 Ken Hardy Side Door, 29 Mountjoy Square, 47 Phibsborough Road, Dublin 1 Dublin 7

23 Eileen Healy 35 Gerard Casey 2 Adelaide Terrace,

Danesfort Hill, Cork Bennettsbridge, Co. Kilkenny 25 Lochlann Alastair Hoare

Gortachalla, 30 Thelma Chambers Moycullen,

23 Cambridge Tee, Co. Galway York Road, Dun Laoghaire. 28 Michael Hogg Co. Dublin Flat 2.

Carlisle Memorial Centre, 15, 16 Dorothy Cross Regent St reet,

34 Leeson Park. Belfast Dublin 6

7 Ronnie Hughes 9 John Cullen c/o Hob Goblin Art Marketing Services,

Tominearly, 7 Fownes Street Upper, Clonroche, Temple Bar, Co. Wexford Dublin 2

26 Michael Cummins 33 Edmund Leahy 2 Bruce Tee, Studio 16, Upper Dargle Road, 16 Eustace Street, Bray, Dublin 2 Co. Wicklow

11, 12 Padraig McCann 31 Remco De Fouw 53 Camden Street,

10 Irwin Court, Belfast BT9 SAT Kilmainham, Dublin 8 8 Jim Manley

Coastguard Cottages, 32 Patrick Dolan Killough,

33 Church Street, Donw patrick, Athlone, Co. Down Co. Westmeath

3 A .F.N . Manson 27 Martina Galvin Ballyrogan House,

28 Fortfield Drive. Redcross. Terenure, Co. Wicklow Dublin 6

4 JohnMoore

2

10

29

19, 20

14

5

6

1

Temple Bar Gallery and Studios, 4-8Temple Bar, Dublin 2

Dam len Morris 38 Sans Souci Park, Bel fast BT9

Ciaran O'Cearnaigh 6 Tooten Hill, Rathcoole, Co. Dublin

Ellis O'Connell c/o Riverrun Gallery, 82 Dame Street, Dublin 2

Mick O 'Kelly 1 O'Hogan Road, Ballyfermot, Dublin 10

James O'Nolan 24 Raymond Street, Dublin 8

Gerard O 'Sullivan 83 Aidan Park, Shannon, Co. Clare

ConorRegan 101 Lower Baggott Street, Dublin 2

John Shinnors 3 Marian Drive, Roxboro Road, Limerick

13 Victor Sloan Rosedale House, 10 Church Road, Portadown, Co. Armagh BT63 5 HT

21, 22 Joe Wilson Kilmolin, Enniskerry, Co. Wicklow

24 Martin Yelverton Blackwater, Ardnacrusha, Co. Limerick.

Purchase of works in Exhibition

No work can be marked as sold unless a deposit as part of the 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 before 30 April1990 the contract wi ll 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 will not be possible until the Exhibition has finished its run.

Persons wishing to purchase works are requested to communicate with a member of the Committee or the Exhibition's Attendant.

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