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Introduction We can safely assert that by now EVA has achieved the objectives it set in 1977, viz. "to provide the public with an opportunity to visit and experience an exhibition not normally available in the region and at the same time stimulate an awareness ofthe visual arts here" . In the interim it has provided a platform for hundreds of young artists not just from the region but from the entire Country, North and South, and many early exhibitors and prizewinners have gone on to build their reputations on this foundation. The decision from 1979 onwards to invite an adjudicatorfrom outside the country has had a major impact on the style and quality oft he show and, more important, on the integrity of the selection process. This ensured EVA had a distinctive personality from year to year and to an extent avoided the risk of stagnation. The paradox is that even the variety provided by successive international selectors hardly seems enough to sustain enthusiasm over an extended period. The Committee recognise this and are conscious that EVA's life cycle has reached a plateau. The boost it now needs may well come in part at least from the timely development of the Limerick City Gallery which has housed the exhibition since 1977 and which is now being enlarged and modernised on relocation of the City Library. This opens up possibilities for diversification, e.g . inclusion of large-scale installations and even performance art which up to this could not have been considered owing to space restrictions in the old Gallery. Indeed this expanded space is already being taken advantage of in EVA 85 while the Gallery is still in its unfinished state and by 1986we look forward to a modern Gallery with exciting potential. This year our prize fund has been substantially increased through the generosity of our growing list of Sponsors who deserve our sincerest thanks. Weare aIso very conscious of and grateful for the financial vote of confidence shown in EVA by The Arts Cou nci I at a time when their a Iready inadequate resources are overstretched. The annual Lecture Series which is now integrally associate with EVA is being held in the Gallery this year and we would like to thank the Regional Management Centre for their work in organising the Series. Included on the panel will be Rudi Fuchs, the selector, who will talk about EVA 85.1n addition a special Education Sub-Committee has been planning an ambitious programme aimed at involving primary and secondary school art teachers and pupils and we would hope this too would become an annual feature. (Full details of both these fringe activities appear elsewhere in the catalogue.) Although the Limerick City Gallery has been the venue for EVA since 1977, this facility is not taken for granted and we must express our indebtedness to the City Manager, Mr. Tom Rice and to the newly-appointed Gallery Director/Curator Mr. Paul O'Reilly. We would also take this opportunity to applaud the decision to give Limerick City a Gallery worthy of its standing as a vibrant centre for the visual arts. Congratulations to those artists who were selected by Rudi Fuchs and a very genuine thank-you to every artist who submitted work. Without your support EVA would not exist. Finally, I would like to thank personally each member of the Committee and Sub Committees for the hard work and dedication which went into the making of EVA85.
Tony Rodgers, Chairman. October, 1985.
Venue Limerick City Gallery PerySquare Limerick Phone 061-31 0633 19 October-23 November 1985 10.00-6.00 10.00-1.00 2.00-5.00 Late opening to 7.00
Monday- Friday Saturday Sunday Thursday As a special feature of EVA the Gallery will be open during lunchtime
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Fringe events A series of lectures will take place during EVA85, in Limerick Gallery entitled:
A CENTURY OF MODERN ART EVA 1985
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Rudi Fuchs EVA Selector 1985 Artistic Director Castello Di Rivoli Torino Italy Director Van Abbemuseum Eindhoven Holland Post Impressionism
Roy Johnston Senior Lecturer Department of Fine Art University of Ulster Art & Communications
Luke Gibbons Lecturer in Communications NIHEDublin Irish Figurative Art
Sean McCrum Art Critic Ceramics as Art
Michael Robinson Curator- Decorative Arts Ulster Museum Art & Society The Last Ten Years
Anthony Cronin Poet/Novelist Contemporary Irish Art
Joan Fowler Art Critic National College ofArt & Design The Promise of Architecture
Paul Keogh Dublin City Architects Group
If you wish to attend the above lectures contact: Michelle Brodie Continuing Education Regional Manag ement Centre
NIH E Castletroy Limerick Telephone bookings may be made at : 061 -333644, Extension 2000 or Paul O'Reilly Director/Curator Limerick City Ga llery Pery Sq. Limerick Phone061 -310633
1977 1978
1979 1980 1981 1982 1984
Adjudicators 1977-1984
Committee Members 1977-1985
Barrie Cooke John Kelly Brian King Adrian Hall Charles Harper TheoMcNab Coilin Murray Sandy Nairne (England) Brian O'Doherty (USA) Pierre Restany (France) Liesbeth Brandt Corstius (Netherlands) Peter Fuller (Eng land)
Vivienne Bogan Ursula Brick* Dietrich Blodau* Gerry Dukes Tom Fitzgerald* Charles Harper* Kate Hennessy* Bob Hobby* Brendan Lane Terence Leahy* John Logan Paul Lynam Don MacGabhann Willem Minjon* Hugh Murray Robert O'Byrne Tony Rodgers Lorraine Wall Samuel Walsh
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Previous Award Winners
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1979 1980 1981 1982 1984
Patrons' Award Felim Egan Tom Fitzgerald Tom Fitzgerald Breda Kennedy Jim Manley
1977 1978 1979 1980 1981 1982 1984
Painting Award Graham Gingles/Aian Robb Anthony O'Carroii/Siobhan Piercy Michael Coleman/Barrie Cooke Michael Coleman/Jack Donovan Ben Stack Ann Carlisle Camille Souter
1977 1978 1979 1980 1981 1982 1984
Sculpture Award Robert M cDonald/Eilis O'Connell David Leverett/James Buckley Roy Johnston Mike Fitzpatrick/Deborah Brown Danny McCarthy/Joanna Tracey Simon Moller Not awarded
1977 1978 1979 1980 1981 1982 1984
Graphic s Award Alan Green/Paul Masse Joel Fisher/Brenda Kelliher John Aiken/Joseph Lee M ichael O'Neill/Don MacGabhann Donald Teskey/M i ri am Flanagan Willie Heron David Lilburn
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Honourable M entions (at the discretion of the adjudicator) Patrick Harris, Daniel O'Gorman, Benedict Tutty, Ian Sutherland, Michael O'Neill.
Sponsors 1985
Committee
THE ARTS COUNCIL LIMERICK CORPORATION Allied Irish Banks pic. Aughinish Alumina Ltd. Bank of Ireland Elsevier Scientific Publishers Ireland Ltd. GPA Group Ltd. Helene M odes. Howmedica International Inc. KM G Reynolds McCarron. Krups Engineering Ltd. Limerick Cargo Handling Ltd. M id-West Branch Royal Institute of Architects of Ireland. M urray Sweeney & Co., Solicitors. Neodata Services Ltd. Regional M anagement Centre, Limerick. The Stoneyard Ltd. Tulia Electronics Ltd. Varian Instruments - Ireland. Verbatim Ltd. Vitalograph (Ireland) Ltd. W alsh Western International Ltd.
Chairman Tony Rodgers Secretary Lorraine Wall Finance Brendan Lane Publicity Hugh M urray Committee Vivienne Bogan Gerry Dukes Charles Harper Paul Lynam Robert O'Byrne Administrator Paul O'Reilly
Wang Laboratories Irel and b.v.
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Education Sub-Committee Vivienne Bogan Charles Harper Robert O'Byrne Lorraine Wall
Lectures Sub-Committee Terry Leahy John Logan Paul Lynam Samuel Walsh
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Note to Art Teachers
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In line with changing attitudes towards arts education, including the new Arts Council policy in this area, EVA hopes to encourage primary and secondary level schools to become involved in the exhibition for its duration. Forthefirsttime, this year school-oriented tours will be available to all those interested (prior booking essential). In addition a pilot scheme of working more directly with a small number of schools on an intensive five-week project is to be attempted . The results will be assessed with the intention of widening the field in later years. Although the schools forth is 1985 project have already been selected, all teachers with an interest in arts education should contact the gallery and at least avail ofthe opportunity to visit the EVA exhibition with their class. School tours may be booked by contacting : Paul O'Reilly Limerick City Gallery PerySquare LimerickPhone061 -310633
Visual + The Exhibition of Visua l Art, now in its ninth year gives people in the Limerick area yet again the chance to make sense out of contemporary fine art in Ireland north and south. The sense that people who visit the exhibition will make of it depends on the sense that others have made before them. The artists show in their work how they have made sense of the world around them and within them. And they also show the sense they have of the fin e art traditions they have inherited by the ways their work refers to those traditions. Entered in competition, all the works of art become subject to how the art critic/adjudicator makes sense as he or she judges, selects and patterns the exhibition as a whole. What people themselves bring to EVA is their own sense of themselves and their worlds based on their own personal experiences. The sense they have made of those experiences can aid or hinder their attempts to grasp the sense, the meanings, the artists offer through their work, and the sense the adjudicator offers through the exhibition as a whole. One of the more important of these aids to grasping the meanings in modern art and • its contemporary forms is the experience each person has as a consumer in the gigantic, mixed and multi-mediated information overload that so thoroughly shapes our popular, urban environment. Its depth and breadth, its wealth and power provide each of us with abundant evidence that can lead directly into works of art, into the thoughts and feelings, the energies, joys, hopes, the fear, dread and anxiety that artists deal with in their work. An important hind rance to grasping the meanings in modern/contemporary art lies in the bias we all pick up, mainly through schooling, which assures us that fine art has to do with things visual; that it concerns matters that stress, mainly or only, the sense of sight; that, in art, the other senses have little or no importance in comparison to vision. Yet modern art in all its variations and directions can clea rly be understood as just so many strenuous attempts to overcome the limitations of this visual bias in western cu lture that, afterfive hundred years of unbroken development, peaked in nineteenth century positivism, capitalism, industrialism and fine art. Describing the socio-political, economic and tech nological effects of this bias would require more than a little time and space. For now, just consider some of the techniques modern art has invented to break the hold that the linear-sequential-connected pattern of organisation, the pattern of western logic and rationality, the pattern of the visual bias, had and still has on so much of our thinking and feeling. These techniques include the following : 1. Breaking the rule of literal-visual detai I in what a work of art repre sents. 2. Liberating colour and texture from subordination to the visual bias for detail and real ig ning them and all the other design elements with new emphasis on form, structure and composition. 3. Centering attention in the work of art on the design process itself, on media, on tools, on materials, on the physical processes and the intuitive and intellectual phases of art making. These techniques characterise modern and contemporary art's struggle to overcome the deep seated literal-visual bias in w estern culture. As a consequence the practice of art opened out to deal in a much fuller range of human emotion and feeling . ln so doing it re -established the audience for art as an active collaborator and participant with the artist, rather than as, mainly and merely a passive spectator of what an artist does. The making of sense became an active, creative process not only for artist but also for audience.
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At the centre of modern art's successes lies an altered sense of how art relates to the body and to all its ways of perceiving itself and the world through the senses. The classical idea of a hierarchy of five separable senses with vision the most important one in matters of art gave way under the weight of evidence discovered by modern art, modern science and modern technology to the sounder, more comprehensive idea of an active, complex, interacting sensorium of (by one count) at least eleven senses or modes of sense perception. W.hat we can now rely on in dealing with works of art, in the making of them, and in the making sense of them, is the fullness of this active perceptual process. The potential ofthat process depends on what biases condition and structure the decisions and responses of both artists and audience. Modern art replaced the linear-sequential-connected pattern ofthe visual bias with seemingly endless versions of what can be called a gap-interval-mosaic pattern . ln this pattern oral, tactile, kinesthetic perceptual biases working in partnership with each other and all the senses, along with the visual, influence the decision making, the sense making, that goes into a work of art. Many other areas of our modern consumer cu lture show simi lar reliance on this gap-interval-mosaic organisationa l patterning, and for the same reason : it offers a far more human, far less mechanical technique for the making of sense. But in spite of al l that modern art has done to set such perception right, al l areas of our modern cu lture including that of modern art show the confusion that results when the presence of the visual bias in our behaviour remains uncha ll enged or unresolved. Decade after decade, modern art has continued to struggle with the problem because the offered solutions in changing styles and movements have not proved strong enough to settle the issue. Perhaps the solutions fail to take hold because all our institutions, especially school, are structurally still committed to recycling the visually biased patterns in the behaviour of the people they process. Modern art still has the job of making sense, of explaining ourselves to ourselves, telling us who we are, where we are, and the now- when we are. It does so by offering organisational patterns or structures that try to root themselves in the full comprehensive facts o f our bodily perceptual existence as people. Its confusions, contradictions and inconsistencies are those of the culture at large, the result of a failure to getthe survival patterns right. Its ordeal is just like that of the old fisherman who tells his survival story in Poe' s Descent Into The Maelstrom.
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EVA 85 is full of such "explanations", such patterns aimed at survival, rooted in the ways of full human perception. Each artist is the old fisherman. As are we all. lt'sa pity, though, that EVA's very title carries so blatantly the visual bias further than it need or should be allowed to go. Those who know or care to let others know could ca ll it EV +A. meaning by that the Exhibition of Visual + (Visual Plus) Art. The plus sign stands for all that the word visual tends to let us ignore, which is all that modern art here in Ireland as elsewhere so deeply celebra tes.
Paul M . O'Reilly Moycarkey, September 1985
Rudi Fuchs, Adjudicator
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1942 1960-66 1967-74 Since 1975
Born in Eindhoven, Holland. Art History, University of Leijden . Institute of Art History, University of Leijden, teaching Director Van Abbemuseum, organized one-pe_rson . exhibitions of art mcludmg: Sol Lewitt, A.A. Panek, Alan Charlton, Laurence Weiner, Daniel Buren, Sigmar Polke, Stanley Brouwn, Ulrich Ruckriem, Niele Toroni, Dan Graham, Barry Flanagan, Robert Barry, Markus Lupertz, Joseph Kosuth, Carl Andre, Gerhard Richter, R. Lohse,
1982 1984
Hamish Fulton, Georg Baselitz, Anselm Kiefer, Donald Judd, Richard Long, Jan Dibbets, Giovanni Anselmo, Arnulf Rainer, Mario Merz, Gilbert& George, On Kawara , Jorg lmmendorff, Jannis Kounellis, Gunter Brus, Per Kirkeby, James Lee Byars, Herman Nitsch, Remy Zaugg, F.E. Walther, Maria Nordman, Mario Merz, Emilio Vedova, et al. Artistic Director Documenta 7, 1982 Kassel. Artistic Director Castello di Rivoli, Torino, Italy.
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All the world's styles, and the f ashions too, are also reflected and used in Irish art. In that sense, Ireland belongs to the international world of art. At the same time, however, there is a certain distance, that, in the end, may be an advantage. In the years following World War II, we have been told that good art is international. Art which did not come up to "international standards" often was rejected as regional or provincial. In more recent years, we have come to realize that regional differences and personalities are the actual richness of European culture- and that they are the result of natural development of various cu ltures through history.lf I wantto read an Irish book, I want to read something which is culturally Irish - not a book by an Irish author trying to imitate, say, Somerset Maugham. By that Irish, I do not mean the folkloristic lrish. l want it contemporary, like Joyce or Beckett. Both, I assume, are Irish, but with a strong awareness too, of the values and standards of other European cultures. That awareness makes them also international. Since the early Middle ages, Ireland has never been famous for its visual art, though there have been one or two very good painters, like Jack Yeats. The many works sent to Limerick for the show, all of them chaotically different, demonstrate a thriving art scene - and nowoureyes are cleared of the international stare we may be able to discern certain promises. The relative distance of Ireland from the leading centres, and the subsequent spareness in information, have made it possible, I believe, for a certain type of rich imagery to survive, absolutely separate from the international trends that other artists have tried to adopt. I do not know what, precisely, Irish Art could be. But in literature, James Joyce, or more recently, Seamus Heaney, one encounters strong images of earthly richness - and some of that one also finds in paintings. Selecting for the exhibition, I have looked for those Artists trying to work in more " international" modes, I have not passed over when the works were good . l cannot be the judge of an artist's honest intentions, only of the visual quality of the works submitted. An exhibition like this one is, by its very nature, accidental in its composition . The structure is haphazard, my choices quickly made and, therefore, fragile. I have, however, tried to give the exhibition some kind of unity and coherence by keeping in mind where in the rooms, and in the vicinity of which other works, they were going to be shown . Being a judge is not an enjoyable position. It is awkward to be called in like the Mediaeval judge who comes, passes verdict, and goes off again. But I have enjoyed seeing so many artworks from Ireland. It was an opportunity I otherwise wouldn't have - and I am resolved to deepen the acquaintance in the future.! thankthe Committee of EVA and the Gallery's Curator, Paul O'Reilly, for their help and kindness.
RudiFuchs Limerick/Dublin 13th September, 1985. •
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Awards Open Award £1 ,250 Tracy M acKenna No Three Fishes Painting Award £750 Sponsored by GPA Group Ltd.
Martin Yelverton The Boreen to Colhanes Old House Sculpture Award £750 Eilfs 0 Connell Nunivak Voyage
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Graphics Award £750 Triona Ford Demolition/Excavation
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Open Award £1,250
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1 Tracy MacKenna No Three Fishes Mixed Media on Paper 120x84
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Biographical Note Born in Scotland 1963. Studied at Glasgow School of Art 1981-1985, B.A. (Hons.). Awarded the Ben no Schotz Drawing Award 1985. Has exhibited this year in the R.S.A. (Edinburgh), Paisley Drawing Exhibition and R.G.I. invited artists.
Painting Award £750 Sponsored by GPA Group Ltd.
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Martin Yelverton The Boreen to Colhanes Old House Oil on Board 25
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Biographical Note Born in County Clare 1966. Studied in Limerick School of Art and Design.
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Sculpture Award £750
Eilis O'Connell Nunivak Voyage Painted Steel 120x 136x 10 Biographical Note Born Derry 1953. Studied in Crawford school of Art, Cork. Exhibits extensively in most major Irish shows. Has represented Ireland in International Exhibitions including: Paris Biennale 1982, Rose 1984, Sao Paolo 1985. Awards include EVA 1977 and GPA Emerging Artists 1981.
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Graphics Award £750
TrionaFord Demolition/Excavation Charcoal, Crayon on Paper 100x73
Biographical Note Born Vancouver 1958. Studied Belfast and Dusseldorf. Oneperson-shows in Cork at UCC, Lavitts Quay and in Dublin atthe Peacock Theatre Gallery. Group shows include Cork Art Now (CAN), Independent Artists and EVA.
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The Exhibition All measurement in centimetres height x width x depth.
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Merle Berrett 1 Kneeling Nude Conte, pencil, gouache on paper £100 65 X 53
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Frank Lee Cooper Tilt Two Earthwork NFS
76
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305
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305
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I Cormac Boydell 3 Man of Ecstasy Ceramic £1 ,250 274 X 183 X 46
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Mary Delmage Crabshe/1 Ill Watercolour £20 10 X 12
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Bob Baker Skeletal Study Acrylic on cotton
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£595 171 X 223
Michael Coleman Through Black Oil on Linen
£800 150 X 150
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James Coleman 7 So different and yet M ixed media on paper 0
£1,700 79 X 100
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Jill Dennis My Birthday Oil on Cotton
£360 159 X 135
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Mickey Donnelly Untitled ('84) Acrylic & Pastel on Board
£450 152 X 121
Mickey Donnelly 10 Untitled ('85) Acrylic & Pastel on Board
£450 152x121
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Fellm Egan 11 Apollo IX Acrylic on cotton
£1,500 170 X 170
James E. Fearon 12 Letting It Bleed Spectrum on Cotton
£300 182 X 152.
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Brian Maguire 14 Parental Relationship (ADULT) Acrylic on Cotton
Gerry Gleason Rise & Fall Kiss My Ass Mixed media on paper
£150 88 X 62
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£1,000 186x114
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GRAPHICS AWARD
Trionaford 15 Demolition/Excavation Charcoal, Crayon on Paper
£300 73x 100
Trion• Ford 16 Demolition/Excavation Oil on Cotton £750 122 X 165
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Richard Gorman 17 Untitled 1985 Acrylic on Cotton £320 85x85
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Tim Goulding 18 Reeds & Reflection 6 Oil & Acrylic on cotton £1,425 153 X 122
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Roy Johnston 20 Displacement Series Mixed media on paper £450 96 x65
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Breda Lynch Man, Woman, Horse Oil on Cotton £600 152 X 122
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Robert Janz 23 Alma's Rose Oil stick on paper £1,300 four parts each
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Ciaran Lynch 22 Landscape M ixed media on paper £200 63 X 78
John Kindness 24 Bill School Dog Mixed £800 86 X 120 X 50
PA TRONS' A WARD
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Helen Commerford 25 Burren Landscape 68 pencil on paper £590 203 X 152
Tracy MacKenna 26 No Three Fishes Mixed media on Paper £180 120 X 84
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Letitia McCandless 27 Untitled M ixed media on Paper £200 57 X 76
Anna Lind Macleod 28 The Testament of a Crusade Oil on Board £375 98 X 150
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HW (Jaaper) M cKinney 29 Paris Shower Steel, copper, wood, wax £250 114x62x52
Bernadette Madden 30 Stone Resist Dyed Fabric £650 96 X 75
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Jim Manley Blue Vase II Mixed media on Paper £250 51 X 53
Tom Fitzgerald 32 " Apparatus - The Shadow Machine" Mixed media on Perspex £425 90 X 124
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Simon Moller 33 Downeys Shop Door M ixed media
Simon M oller 34 Untitled Mixed media
NFS 183 X 183 X 61
NFS 198 X 168
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Anna Moore 35 Drawing Pencil, crayon on Paper £50 35 X 27
Michael Mulcahy 36 Thunder M ixed media on Cotton £1,500 161
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SCULPTURE AWARD
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Ellis O'Connell 37 Striking Example Painted Steel £700
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Eilis O 'Connell 38 Nunivak Voyage Painted Steel £1' 100
120
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Deirdre O'Connell Untitled Charcoal & Conte on Paper
£400 135 X 100
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Deirdre O'Connell Untitled Charcoal & Conte on Paper
£400 135 X 100
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Stephen Rlnn Lets Wait Before The M adness Of The Weltz Oil on Cotton
£500
RonanWalah 42 Porte De Chappell (Metro) Oil on Cotton
£900 157 X 214
170x 208
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Laurence O' Neill 43 Untitled (B) Acrylic on Cotton
£190 76x65
Slobhan O'Connor 44 John & Julie Acrylic on Cotton
£500
Jack Pakenham 45 "You Are Now Entering Free Ireland" Acrylic on Board
£600 90x90
Jack Pakenham 46 Image for Ulster Acrylic on Board
£600 90x90
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Mark Pepper 47 ActofMalice Oil onConon
Mark Pepper 48 CurrentA ffairs Oil onConon
£500
£500
153 X 122
153x 122
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.. Geraldine O'Reilly 49 'Surrounded by Clues' Mixed media on paper
£200 42.5x42.5
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Kathy Prendergast 50 Untitled 1985 Watercolour on paper
£250 56x76
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Chris Robinson 51 Untitled Graphite & Acrylic N.F.S.
47x37
Simon Reilly 52 Untitled Oil on Cotton
£650 151x151
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Tom Shortt 53 Self-Portraits Monoprint
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£75 42x 29.5
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Tom Shortt 54 Faces From The End OfAn Era Monoprint £75
42x 29.5
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Richerd Slade 55 Between The Swelling Gates Oil on Board
£500 182 X 122
Stephen Snoddy 56 Fui/Moon Charcoal on Heritage Paper
£150 102x81
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Claran Taylor 57 Lake One: Red in Green Oil on Cotton N.F.S. 202x 170
Claran Taylor 58 Lake Two: Red in Blue Oil on Cotton N.F.S. 202x 170 •
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Sean Mulcahy 59 M emoirs Vol. 81.85 Ink on Paper £85
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Seen Mulcahy 60 Memoirs Vol. 82.85 Ink on Paper £85
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Jacqueline Stanley 4 Changes Caran Hill Mono type £250 48x69
Nick Stewart 62 No Title Charcoal on Paper £500 153x 153
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Mhairi Sutherland 63 Striking Poses Mixed media on Paper £165 44x30
Niamh Collins 64 Toothbrush Oil on Paper £135 46 X 59
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Samuel Wal•h 85 Drawing 89 Charcoal and graphite on paper £300 75 X 110 PAINTING AWARD
Oliver Whelan 88 "But less that this NAE Man need try He'd better be content to eye the wheel in silence whirling by" Oil on Cotton £750 183x 183
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Martin Yelverton 87 "The Boreen to Colhane's Old House" Oil on Board N.F.S. 25x 18
Cecil King 88 Link Oil on Linen £300 76 X 76
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AnneTimony 69 Self-Birth Circle Set of 12 photographs £250 30 x 24 x 12 (each)
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Ann Cronin 70 Untitled Photograph
£75 40
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List of exhibitors 5 Bob Baker c/o Limerick School of Art and Design Georges Quay Limerick 1 Marie Barrett Sprackburn Art Group High Road Letterkenny Co. Donegal 3 Cormac Boydell Alii hies Bantry Co. Cork 7 James Coleman c/o 189EmmetRoad lnchicore Dublin 8 '
6 Michael Coleman c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2 64 Nlamh Collins 47 Margravine Road London W6 8LL
25 Helen Commerford Garrylough M ill Screen Enniscorthy Co. Wexford 2 Frank lee Cooper 10 Trafalgar Tee. Monkstown Co. Dublin
70 Ann Cronin Curraghbridge Ad are Co. Limerick
4 Mary Del mage The Warren Aughacasla North Castlegregory Co. Kerry 8 Jill Dennis Fergus-Dripsey Coach ford Co. Cork
9,10 Micky Donnelly 22 Eglantine Ave. Belfast BTG 6DX 11 FellmEgan c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2 12 James E. Fearon Flat 2 16 Eglantine Ave. Belfast BT9 6DX 32 Tom Fitzgerald 'Ardlea' Knockbrack East Lisnagry Co. Limerick 15,16 TrionaFord Ardower Taylors Hill Galway 17 Richard Gorman c/o Hendriks Gallery 119 St. Stephens Green Dublin 2 13 Gerry Gleason 38 Burnside Avenue Saintfleld Road Belfast BT84HN 18 Tim Goulding Reentrisk-AIIihies Bantry Co. Cork
68 Cecil King c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2 21 Breda lynch 2 Sunnyside Barringtons Ave. Ballintemple Cork 22 Ciaran lynch Parkswood Passage East Co. Waterford 27 letitia McCandless Sprackbu rn Art Group High Road Letterkenny Co. Donegal 26 Tracy MacKenna Grangehill Ovens Co. Cork 28 Anna lind Macleod 37 Clarinda Park East Dun Laoghaire Co. Dublin 29 H.W . (Jasper) McKinney 69 Ballymoney Road Ban bridge Co. Down
19 Charles Harper 3Ash Close Elm Park Castletroy Co. Limerick
30 Bernadette Madden Studio 102 Haddington Road Beggar's Bush Dublin 4
23 RobertJanz c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2
14 Brian Maguire 7 Ridge Hill Ballybrack Dublin
20 Roy Johnston 1 Marlborough Park Central Belfast BT9 6H N
31 Jim Manley Ardmore House Down patrick Co. Down
24 John Kindness 3 Chlorine Gardens Belfast BT9 SDJ
33,34 Simon Moller Boher Co. Limerick
35 Anna Moore 17 St. Patricks Place Cork 36 Michael Mulcahy c/o Taylor Galleries 6 Daw son Street Dublin 2 59,60 Sean Mulcahy 52 Leeson Park Dublin6
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39,40 Deirdre O'Connell Flat 1 184 Lisburn Road Belfast BT9 6GH 37,38 Eilis O'Connell 38 Benvoirlich Bishopstown Co. Cork 44 Slobh6n O' Connor TheRoughan Lifford Co. Donegal
43 Laurence O 'Neill 16 Lr. Dominick Street Dublin 1 49 Geraldine O'Reilly 3 Morningside Summerhill South Cork City 45,46 Jack Pakenham 21 Carolhill Drive Belfast •
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47,48 Mark Pepper 64AIIiance Road Belfast BT14 7 J B 50 Kathy Prendergast c/o Hendriks Gallery 119St. Stephens Green Dublin 2 62 Simon Reilly 2A Lis burn Road Belfast BT9 41 Stephen Rinn 48 Delw ood Road Castleknock Co. Dublin
51 Chris Robinson ULaragh" 39YorkRoad Dun Laoghaire Co. Dublin 53,54 Tom Shortt 7 New en ham Street Limerick 55 Richard Slade 29 Rosendale Gdns. Corbally Limerick 56 Stephen Snoddy 5 Ardmore Park South Finaghy Belfast BT10 OJF 61 Jacqueline Stanley 145 Tritonville Road Dublin 4 6 2 Nick Stewart Flat3 21 Windsor Park Belfast BT9 63 Mhairi Sutherland Ballyare Letterkenny Co. Donegal 5 7 ,58 Ciaran Taylor De Vesci Lodge De Vesci Terrace Dun Laoghaire Co. Dublin 6 9 AnneTimony 28 Castlewood Ave. Rathmines Dublin 6 42 Ronan Walsh Temple Bar Studios 4-7 Temple Bar Dublin 2 65 Samuel Walsh c/o Oliver Dowling Gallery 19 Kildare Street Dublin 2 66 Oliver Whelan 37 Clarinda Park East Dun Laoghaire Co. Dublin
67 Martin Yelverton Dormoville Blackw ater Co. Clare
Purchase of works in Exhibition No work can be marked as sold unless a deposit as part ofthe 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 31 January 1986 the contract will be null and void and the deposit forfeited.
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Cheques should be crossed and made payable to the Limerick Exhibition of Visual Art.
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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.
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Acknowledgements The committee gratefully acknowledges the assistance of:
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The Arts Council The Arts Council of Northern Ireland Triskel Arts Centre, Cork Project Arts Centre, Dublin Limerick City Art Gallery Dan Ryan Truck Rentals Radio Telefis Eireann Regional Management Centre, Limerick Andrew Kearney Photography David Lilburn Design Limerick Leader Printing Ltd. Catalogue.
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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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