September – October 2017 is a themed issue that focuses on contemporary Irish painting, offering timely insights into recent exhibitions, seminars, residencies and current studio practices. With so many vibrant painters currently working in Ireland and a wealth of painting exhibitions taking place nationwide, this thematic inquiry cannot be comprehensive. The issue places emphasis on materiality and the making process, while touching on discourse specific to the medium of painting.
A series of extended essays has been commissioned to provide thematic surveys of contemporary Irish painting: Ramon Kassam examines representations of the landscape; Mark O'Kelly discusses recent developments in portraiture; and Alison Pilkington offers valuable insights into contemporary abstract painting.
In the columns for this issue, Colin Martin introduces 'The Materiality of Painting' – an upcoming lecture series at the RHA that seeks to explore material concerns specific to current painting practice. VAI NI Manager Rob Hilken discusses the trajectory of painting in Northern Ireland, while Marcus Cope outlines the evolution of the Marmite Prize for Painting. Also in this issue, Susan Connolly reports on her residency in Golden Paints, New York, while Marc Guinan discusses the seminar he organised at The LAB, Dublin, entitled 'Painters Talking Paint'. In the organisation profiles, Ronan Lyons discusses the Molesworth Gallery, Dublin, while Valerie Ceregini interviews three painters – Colm MacAthlaoich, Natasha Conway and Dennis Kelly – who will present solo exhibitions at Pallas Projects and Studios in the autumn.
In the 'How is it Made?' section, James Merrigan discusses All or Nothing, his new documentary film about painting. Ailve McCormack interviews Mark Francis in his London studio, while Helen G. Blake talks about her painting practice. Interviews by Joanne Laws and Martin Herbert offer insights into the work of Elizabeth Magill and Ronnie Hughes, to coincide with their high-profile touring exhibitions. Joanne Laws also interviews three Irish painters at various stages of their careers – Jane Rainey, Ciarán Murphy and Robert Armstrong – about the realities of maintaining a painting practice in Ireland.
Reviewed in this issue's extended Critique section are: 'Painting NOW' at Green on Red Gallery; 'Memory Needs a Landscape' at Taylor Galleries; 'The Living and the Dead' at Temple Bar Gallery and Studios; 'International Ireland' at the Ulster Museum; 'Crooked Orbit' at Kevin Kavanagh; 'Faith After Saenredam and Other Paintings' at Kerlin Gallery; 'A Dream and an Argument' at The MAC; and 'What We Do in the Shadows' at Almine Rech Gallery, Brussels.