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Catalogue sponsored and printed by Irish Elsevier Printing
Introduction The Limerick Exhibition of Visual Art was founded in 1977 and was planned as an annual event showing work by contemporary visual artists and has taken place every year since that date. The motivation for Limerick EVA primarily arose out of the paucity of opportunities in the Mid-West for viewing contemporary vi sua I art. This lack was most deeply felt by the communityofthe Limerick School of Art and local artists, as well as the general public. Having decided to inaugurate EVA, the challenge was how to give it a particular personality and quality which would make it attractive for artists to submit work, for critics to evaluate, and for the public to visit and be intrigued, entertained, stimulated, ruffled, outraged, puzzled, impressed, bored, appalled or delighted depending on the degree of convergence or divergence of ideas, images and minds. The decision which was to have the most formative influence on the character of EVA was the selection annually of a sole adjudicator whose attributes were to include an impressive involvement in the world of contemporary art and non-residence in Ireland. To date, this approach has resulted in a broad cross-section of contemporary Irish art being subjected to the rigours of a highly personal appraisal by an individual who is virtually unaware of the state of Irish art, much less the individuals who
make this art, and who has a perspective which is nurtured in a different milieu, such as Big Apple East-Coast North America or the Shuttle Culture Triangle of Paris-Zurich-Milan. This surely adds a dimension to Irish art criticism that is to be welcomed. Nor should it be forgotten that not only is the show a selection of work but, by definition, a critique of both the entries and the premise on which the adjudicator's selection is based. Hence the variety in the personality of EVA each year. Recurring prizewinners, selected by very different personalities, must have been greatly encouraged by such diverse, unrelated and unfamiliar sources of reinforcement, whilst those artists who have won a prize in one year and been rejected another have cause to ponder the nature of art criticism .
The Committee also places great importance on the degree of public participation in the Exhibition. The attendances are quite good and the opening night leaves one in no doubt about the grouping instincts of mankind (we suppose the wine helps, ordinaireand all as it is). Yet the awareness of EVA locally is not such as to require the Committee to budget for crowd control services. With this in mind, fringe events have been organised, with some success, to attract people with interests in the other arts, such as literature and music. This year, Paul O'Reilly, Artist, will give two lectures based on the content of EVA '82 and Paul Muldoon, Poet, will give a reading. • School tours to visit the Exhibition are particularly welcome and should be arranged in advance. u It rem ains for the Committee to sincerely thank everybody who has assisted in EVA '82, especially the Artists, the Adjudicator (Ms. Liesbeth Brandt Corstius), the openerofEVA(Mr. Pat Murphy, Chairman of ROSC), and all of our generous sponsors and patrons.
Anotherfeature of EVA is its size. Due to the great shortage of centrally located Exhibition space in Limerick, the Exhibition is confined to 60 or 70 works of moderate size. The large entry, therefore, results in some work being rejected solely due to lack Hugh Murray of space. This possibly has the Chairman of EVA. virtue of raising the (so called) standard b11t it equally inhibits the • Please refer to catalogue and poster scope anc !e of the Exhibition, for details. particularly in relation to •• For information contact sculpture and installations. The Ms. Lorraine Wall Committee would greatly Secretary, EVA welcome the flexibility of a larger lnchbeg, Ennis, Co. Clare venue and looks forward to the Telephone (065) 24810 day when the Municipal Gallery is extended or moved to grander premrses. Assisted by the Arts Council. 0
Liesbeth Brandt Corstius studied art history at Amsterdam University. Having earned her M.A., she became curator for modern art at the Boymans-van Beuningen Museum in Rotterdam in 1967. From 1975to 1980 she was editor-in-chief ofthe Museumjournal, a bi-monthly journal for contemporary art. She is also a freelance art critic and organiser of exhibitions. She founded the Dutch Foundation for Women in the Visual Arts and is vice-president of the Advisice-president of the Advisory Board for the Ministry of Cultural Affairs. From August 1982 she will be director of the Municipal Museum in Arnhem.
Adjudicators Note Sunday Night-first impression: Five hundred works of art stand against the walls of the vast new gymnasium ofThomond College; a number are still being unpacked under cold, artificial light.
and the ones that restrain their force or, to the contrary, cry out expressively; there are the funny, ironical ones next to the serious ones and of course every combination of these.
Monday Morning -second impression: Behind the City Library rooms we find ourselves in the neat, quiet art gallery with it'sthreetinywings, it's soft and even light that falls through the glass roof. Evidently it will not be able to house more than seventy works.
As a whole, I think they will form a vital group, that will spiritually (and litera lly) burst out of the gallery.
I realise that my work for the next two days will be rejecting over four hundred works of art by Irish Artists. A cruel job-1 am glad not to know any of the artists personally and to be able to fly out of Limerick after having finished it. But it is also an exciting job. Never in my life have I seen any of these works before. Sti II, they relate to all paintings and sculptures that I have seen before. They speak the same language, each one, however, with its own voice- intonation, accent and timbre make them into separate individual beings. And during the hours that I walk in their midst, some of them become an acquaintance. Every time I enter the gymnasium- in the morning, after lunch - I long to see them again; how they are doing now? Andwhiletheshow takes form, I wonder how they will behave together, forthey have very different characters. There are the quiet, introverted types, the friendly gleaming ones
From the moment I met them, some of them have been attracting my attention more than others. There was this kind of naughty little boy who winked at me when I saw him first. Although I tried to divide my attention honestly between all ofthem, I could and would not forget him and when it came to it I thought he shou ld get this year's Graphics Award. He turned out to be the brother of a strange wood relief, that had been hanging above our heads all the time. The father of the two is Willie Heron. When the large drawing, mounted on board, had it's face turned to me, I was immediately impressed by the strong black form and the playful, but sharp, colourfu l lines. 'The problem with sharks is they bite', a Ia rge drawing in charcoal, ink and felt-ti p pen by Anne Carlisle is worth this year's Painting Award. One literally bumped into the large sculpture of Simon Moller when entering the gymnasium. That first night, under artificial light, it had a transparent quality. The grey light of the next morning made it more massive, but still intriguing by the way the different materials were matched. Not the heavy classical materials of
sculpture are used-stone, wood-but ordinary contemporary stuff like wire and latex and preformed wooden skirtings. This 'wall', strong and at the same time aware of it's holes and broken-off ends, stands for the Sculpture Award ofthis year. The Patrons' Open Award is given to Breda Kennedy's painting "untitled No. 3'.lt has all the qualities ofthat piece of art which comprises a whole wonderful world in itself . One can relate to it on many different levels and this is exactly what happened between me and that proud and modest painting, during the hours that I lived in the 路gymnasium. The exhibition in the Municipal Art Gallery is my personal choice from the works sent in, and is based on my knowledge and experience of art. I have one wish: that all visitors would have been able to make their own choice from the total amount of works sent in, so as to compare it with mine. I am sure they would have related to other works as well. It is a shame that the amount of work done by the artists and organisers in order to get five hundred works packed and transported from, and to, all over Ireland, will not end up in a largeshow-nexttothe adjudicator's choice-so that everybody could see and compare. At this moment, Wednesday, 15th September,430 works of art are being repacked without anybody having seen them, except me.
Liesbeth BrandtCorstius
An Introduction to the Limerick EVA '82 A useful aid in thinking about what works of art and artists do comes in setting these art activities side by side with the activities of language: speaking, hearing and listening. EVA '82 seems to offer an especially fitting occasion to make such comparisons. lnd.eed, this year's adjudicator in her catalogue comments uses this art-as-language metaphor as an effective way of recalling her experience in selecting this year's exhibition. What follows briefly extends the comparison. Before any audience can hear or listen to what the works of art say, the artists themselves have had to become dedicated listeners. What artists say depends not only on what they hear but also on how well they listen, listen taken to mean not merely hearing but paying attention and giving heed. Studying and practising art, then, entails the study and practice of ways of listening, and every work of art shows in three w ays the directions an artist's listening takes. 1. Representation . Each work of art 'shows how the artist listens to what goes on outside him or herself; what he or she selects and refers to in a literal or visual way within the work of art. The work of art also shows how the artist listens to what goes on inside him or herself, to the thoughts and feelings, to the emotional charges aroused by the artist's experience to which he or she refers within the work of art itself. 2. Presentation. Any presented work of art shows how well the artist listens to or heeds the various materials, media, and tools used in making it. The design elements are also stressed and combined i n various ways depending on the response the artist makes when listening to or heeding them. 3. Audience. Each artist also functions as his or her own first audience and the work-in-progress
responds to the self-criticism, to the decisions and revisions the artist makes. Such decisions are often made under the infl uence of the ideas and the example of others. And, too, theworkofartcan also be made w ith other people directly in m i nd: patrons, commissions, competitions. In these matters of audience, then, the artist functions importantly as a listener. So far, the schematic account ofthe artist as a listener hides the actual complexity of the listening which artists do. Any work of art ca rries evidence of the artist's listening, not merely i n the three areas indicated above: representation, presentation and audience. These areas inter-relate i n complex, synergistic ways. The art ist's intuitive, speculative listening crosses the gaps among them in pursuit of active conversation. And, further, the artist as a listener tunes i n to the conversations that arise when materials and media talk among themselves, when figures, hands, arms and bodies and thei r extrusions, tools, co nverse, when design behaviours hum and buzz together, when referen ces to the living that people do pop in and out of range, and when metapho rs and analogies balloon and eddy in the m inds of artists and their audiences. The work of art then that comes to us is a resu lt of how the artist acts on what he or she has listened to or heeded. Coming to terms with a work of art means considering what it is the artist has listened to, or what it is the artist seems deaf to. As well, we the audience should come to the work of art as listeners. Any audience meeting a work of art, any person visiting EVA '82 brings with him or her particular ways of listening or heeding which wil l influence, help or hinder, the abil ity to realize what a particular artist is saying and what the exhibition as a whole, as a col lection of
contemporary Irish art, says for itself. In EVA '82 the audience will meet with works that stress certain listening patterns. Those of the audience that can not only hear but also listen to these patterns will have the best chance to meet and hold conversation with artists whose work relates very closely to the on going processes that are making Ireland modern. Much of the work in EVA '82 has been done by artists whose ability to listen intently has established close encounters with their materials, letting the material's physical characteristics stand domi nant: feathers, straw, wool, wood, plaster, paper. Paint most often moves loosely and quickly, driven by touches, strokes and gestures that are decisively cast and then let fall only on occasion to smother completely the ground or support. The grid is there as a straig ht-man orfoil for the active gestures of body, materials and media. For the most part those works w ith a stress on visual representation are photographic ones. EVA '82 seems bold, brash, bouncy, buoyant, and optimistically confident in the sense of its own ebullient energy, with no little humour and fun, and with hardly a trace of hesitancy, doubt or any trouble offstage. It's the sunny side ofthe street. Much oft he work especially in the sense of design that is d isplayed, has a presence and verve met within the ways information and goods come packaged today in modern Ireland on the make. Overall the pulse and beat of EVA '82 comes close in many ways to establishing the kind of contagious enthusiasm generated in the popular T.V. programmes Top of the Pops, and Fame. An aggressive driving output of energy at a high level of performance-on the sunny side of modern l ife.
Paul O'Reilly 16/17 September '82.
Patrons' Open Award ÂŁ1 ,000
Breda Kennedy 6 Untitled No.3 Acrylic on paper
105x 131 ÂŁ195 Biographical note Born England, 1960; Galway 1965; Studied Belfast College ofArt, 1979-82; at present on a Language Scholarship in Frieberg, West Gemany; taking Post-Graduate Studies, DusseldorfAcademy ofArt, 1982-83.
Painting Prize £500 HydrocurveAward
Anne Carlisle 50 The trouble with sharks is they bite. Charcoal, ink and felt-tip pen.
135.5x 101.5 £250
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Biographical note Born Temp/epatrick, 1957; Studied Belfast College ofArt, 1976-79 (BA), Post-Graduate, Chelsea College of Art, 1979180 (MA); Alice Berger Hammersch/agAward, 1980; N.J. Arts Council Bursary, 1982; selected exhibitions: '5 Ulster Artists, ' touring, 1979; Living Art, 1979/80; 12th John Moores Exhibition, Liverpool, 1980; One-man Exhibition, Octogan Gallery, Belfast, 1981; 'Irish Drawing,' Robert Hull-Fleming Museum, New York, 1981182; SADE cork, (prize w inner), 1982; at present is a full-time artist in Belfast and a member of the editorial committee ofCIRCA.
Graphics Prize ÂŁ500 Rad io Telefis Eireann/ Murray Sweeney & Co., Solicitors Award
Willie Heron 29 Object No. 9 Gouache
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21
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29.5
N.F.S.
Biographical note Born Newtownards 1953; Studied Northern Ireland Polytechnic, 1975-76, Wolverhampton Polytechnic, 1976-79; selected exhibitions: Group Show, Richard I Demarco Gallery, Edinburgh Arts Festival, 1979; 'Hibernian lnscape,' Douglas Hyde Gallery, Dublin and touring Ireland and Scotland, (selected by Paul Overy) 1980-81; one-man exhibition, Art and Research Exchange, Belfast, 1982; at present works as a gardener and continues to paint.
r Sculpture PrizeÂŁ500 Mid-West Branch of the Roya l Institute of Architects in lrelend Award
Simon Molle r 71 Untitled Latex, plaster and steel. 194 x 126x 295 N.F.S.
Biographical note Born England, 1953; Limerick 1981 ; Studied Gwent College of Education, 1974-77, Post Graduate, Royal College ofArt, 1977-80; selected exhibitions: RCA Tri-annual, 1978; '3 Sculptors,' Waterloo Gallery, London, 7981; '... and Printmaking,' Waterloo Gallery, 1982; SADE Cork (prize winner), 1982; at present is a Lecturer in Sculpture at the Limerick School ofArt and Design.
The Exhibition All measurements in centimetres height x width x depth
1
4
Antonia M cGuane Mountain Oil on canvas 54.5 X 60 £150
Cristine Dean Mona in Stitches Mixed media 25 x 38 (open) £65
2
5
Tom Conroy Bride Mainly straw 246 x 125 x 125 approx. £150
Rosaleen Davey Evidence Etching and aquatint 11 X 10 £60
3
6
Gerda Teljeur Bog/and 2 Mixed media 114 X 152 X 38 £900
Breda Kennedy Untitled No. 3 Acrylic on paper 105x131. £195
7
Nigel Rolfe The Difficulty of Flying I 011 p1gment on card
89
10
X
89
274
X
167
£300
£525
Michael Lyons Untitled Ink, conte, acrylic and gouache
Vivien Burnside Dead Life 2 Pastel
77.5
£190 II
8
Audrey Mullins Untitled Acrylic
X
52.5
11
9
DJ/SJ at FOMT. Workmg for the Family M1xed media 58 X 74 N.F.S.
Marie O'Connell 12 Bog Pamting Oil
38 X 50
65.5
£70
£60
X
64
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13
Teresa Clifford Untitled Oil Pastel
75.5
X
54.5
£45
Mary P. O 'Connor 16 Heaven View Screenprint 62 X 77 £65
Michael Cullen 14 Tourist (rhe Birthday PresenrJ Acrylic on canvas 124.5 X 87 N.F.S.
17
Siobhan Piercy Brittas Bay Acrylic 112 X 88
£480
Siobhan Piercy 15 Perceptual Permutations No. 4 Screen print 43 x 43 approx
£120
Eithne Jordan 18 Beach with Child's View Oil on collage on paper 76 X 81.5
£200
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Pauline Doyle 19 Nightclubbing Screen print
22
20
Colm Crone Ramification Limestone and alkyd
21
Evln Nolan Pink Rectangle on Black Mixed med1a
50 X 50 (55
195x12.5x7 (100
81 X 57 (400
Anthony O 'Carroll Sphinx Screenprint
Reggie Murphy Oiltank Photograph
Margaret Becker The Victim Etching
48.5 X 64 ( 125
23
25 X 15 ÂŁ25
24
44.5
C75
X
27.5
25
Deirdre Mcloughlin Shape Ceramic
14 X 33 (140
X
26
34
Bob Sloan Couple II Cast metal, stone, artificial hair, twine
14.5 X 7.5 £150
X
3
27
Bob Sloan Couple Ill Cast metal, stone, feathers
15 X 15.5 £150
X
7
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28
Kathi Edwards The Fish Bowl Ceram ic 24 X 18 X 18
£50
29
Willie Heron Object .'\fo. 9 Gouache
21
X
29.5
N .F.S.
Bob Sloan 30 Couple I Cast metal, hair
15x17.5x3 £ 150
31
Ron Melling August 81182 Cryla and collage 120 X 192 £825
Paul O'Keefe 34 One box/Two ladders Steel 66 X 23 X 80 £280
Charles Tyrell 32 Untitled Acrylic, graphite and timber 143 X 208 £800
35
Blaithin Sheerin Feathered Cloak Feathers and cotton 164 X 204 N.F.S.
Mary Fitzgerald 33 Grid Shift Dyptych Paper and mixed media 92 X 140 £380
Stephen Snoddy 36 Emblem Acrylic on canvas and linen 178 X 183 £200
37
Michael Cullen Dancer Screen print
38
51 X 63.5 £90
43 X 20 £300
Jim Buckley 40 Nitric Breaks Mild Steel varnished
55 X 38 £250
X
Richard Gorman Switch Glass. electric switches, wire
21
41
X
17
Willie Heron North, South, East and West Burnt Wood and paint
44
X
35
N.F.S.
Michael Mulcahy 39 Garden Screen print
51 X 63.5 £50 unframed
42
Gerard Cox The Ploughman's Chair Ash
93
X
£375
261
X
100
43
46
Patricia lang lois Sock Walk Photograph
44
Caroline Bond Untitled No. 6 Mixed media
46 X 56 £:75
32.5
Lloyd Nolan The Encounter Photograph
Cecily Brennan Burning the Heather (1) Watercolour
17 X 24 £50
X
Victor S loan 45 Venetian Blind 1 Photograph
26.5 £75
42
£60
47
26.5 £130
X
16
48
X
39.5
Victor Sloan Venetian Blind 2 Photograph 28 X 40 £75
49
lisa Scholand One Morning Pigment-print (photograph)
12x17.5 £80
50
Anne Carlisle The trouble with sharks is they bite Charcoal, ink and felt-tip pen
135.5
X
101 5
£250
51
Simon English Nights for Ubu Mixed media
27
X
41
N.F.S.
..... Biaithan Sheerin 52 Documentation of a Performance (June 1982) Photographs 64 X 29 N.F.S.
Charles Harper 53 Dictum Watercolour on Japanese Paper
60
X
£425
90
Donald Teskey 54 ... little bright pieces Pencil on paper
59.5 £250
X
48
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Anne Carlisle You can get so much mto a lerter Mixed media
135.5 (250
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111
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Joe Wilson 56 Elavations Pencil on graph paper
101 .5
57
31 X 48 £70
Jac kie Cooney Growth Senes Mixed media
126
X
78
N.F.S.
I
' Jennifer O'Sullivan 58 Conclusion Etching
36.5 £68
X
20.5
, \.
59
Eilis O' Connell Bailing Twine Piece Handmade paper 234 X 86
£500
.,;
Robert Janz 60 Cat Nap · Pensil
43 X 29.5 £90
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61
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Pamela Harris Clowning Gouache 55.5 X 74
£120
Roy Johnston 64 Study for Traverse Series (25431) Conte 47 X 47
£145
ft 1
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62
Pauline Fitzgerald Heart Lines Mixed media 62 X 51
63
£115
Roy Johnston 65 Study for Traverse Series (213) Conte 47 X 47
£145
Joe Wilson Gate Mixed media 86.5 X 70
£125
66
Samuel Walsh Urawing No. 25 Charcoal on arches paper 77 X 57
£120
67
Bill O'Fiynn Glass Houses Photographs 63 x 80 (4 pieces) £:100.
Kevin Carroll 70 Untitled Photograph 40 X 31 (60
68
71
Joe Lee Big Lady Screenprint 80 X 62 (200
69
(215
Simon Moller Untitled Latex, p laster and steel
194
X
N.F.S.
126
X
Kevin Flanagan Strand Stone/wire mesh 84x84x8
295
72
Gwen O' Dowd Breaking Away M ixed media
139 X 132 £250
List of Exhibitors 24 Margaret Becker Green Acres Loughanure Clane Co. Kildare 44 Caroline Bond Mount Ave. Dundalk Co Louth Mic ky Donnelly 73 Left Hand Triptych Mixed media 92 X 198 £300
47 Cecily Brennan 25 Longford Tee. Monkstown Co. Dublin 40 Jim Buckley The Farmhouse Lotamore Mayfield Cork
Brendan Howard 74 Beach Assemblage Photographs 60 x 138 (Triptych) £150
Jill Nunn 75 Five Barrels between Cork and Limerick Oil on acrylic base 38 X 162 £205.
11 Vivien Burnside 210 Ravenhill Rd. Belfast BT6 SED 50, 55 Anne Carlisle 87 Wellesley Ave. Lisburn Rd. Belfast 960U 70 Kevin Carroll 37 Clarinda Park East Dun Laoghaire Co. Dublin 13 Teresa Clifford Carrigane leamcara Co. Cork 2 Tom Conroy co 8 Henry St. Galway
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76
Noreen O'Hare Landmark I Photographs 25.5 x 41 (Diptychl £60
57 Jackie Cooney Ballyfolan Brittas Co. Dublin 42 Gerard Cox Gate Lodge Kilternan Lodge Kilternan Co. Dublin
20 Colm Crone Fandre Co. Clare 37, 14 Michael Cullen 6 Henrietta St Dublin 5 Rosaleen Davey 'Ounavarra' Seafield Rd. Killiney Co. Dulin 4 Cristine Dean 136 Hyde Rd., Prospect Limenck
38 Richard Gorman 11 Doris St. Ring send Dublin 4 53 Charles Harper 503 Elm Pk. Cast letroy Limerick 61 Pamela Harris 6 Church Ave. Rathmines Dublin 6 29, 41 Willie Heron 1 13 Frances St. Newtownards Co. Down
73 Micky Donnelly co The Arts Council of N.l. 74 Brendan Howard Kilrush Rd. 181 A Stranmills Rd. Ennis Belfast Co. Clare 19 Pauline Doyle 60 Robert Janz 34 Newton Parks c/o Oliver Dow ling Gallery Skerries 19 Kildare St. Co. Dublin Dublin 2 28 Kathl Edwards 65,64 IRoy Johnston Mae Villa c/o David Hendriks Gallery Newtowncunningham 119 St. Stephen's Green Co. Donegal Dublin 51 Simon English 18 Eithne Jordan Glanmore 30 Kenilworth St. Charleville Dublin 6 Co. Cork 33 Mary Fitzgerald 14 Rathmore Tee. Bray Co. Wicklow
6 Breda Kennedy 22 Rockbarton Pk. Salthill Galway
62 Pauline Fitzgerald 'Ardlea' Knockbrack East Lisnagry Co. Limerick
43 Patricia Langlois 'Raheen' 6 Coliemore Rd. Dalkey Co. Dublin
69 Kevin Flanagan 29 Borris Rd. Portlaoise Co. Laoise
68 Joe Lee 9 Clinches Court Northstrand Dublin 3
9 DJ/SJ at FOMT. c•o 69 Shares Hill Rd. Kilwaughter Co. Antrim
10 Michael Lyons 45 De Courcey Sq. Glasnevin Dublin 9
Purchase of works in Exhibition 31 Ron Melling Tullig School Dripsey Co. Cork
12 Marie O' Connell Dublin Rd Clane Co. Kildare
71 Simon Moller 1 Bishop's St. l1menck
16 Mary P. O'Connor Verden Montford Pk. Mardyke Cork
39 Mic hael Mulc ahy Helvick Dungarvan Co Waterford
54 Donald Teskey R1versdale Cottage Lwr Churchtown Rd. Dubl1n 14.
34 Paul O' Keefe c;o Oliver Dowling Gallery 19 Kildare St Dublin 2
25 Deirdre M c loughlin 62 Mountjoy Sq. Dublin
15,17 Siobhan Piercy An & Design Dept. Galway R.T.C. Dublin Rd Galway
75 Jill Nunn c/o Old Schoolhouse lnstioge Co. Kilkenny
3 2 Charles Tyrell o o Taylor Galleries 6 Dawson St. Dubhn 2
If any purchaser who has paid a deposit on a work, hast not completed the contract by paying the full catalogue price of the work on or before 31 January 1983, 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 possess1on of works will not be possible until the Exhibition has finished its run. Persons wishing to purchase works are requested to commun1catewith a member of the Committee or the Exhibitions' s Attendant.
6 6 Samuel Wal sh Ballymacreese Ballyneety Co Limenck
58 Jennifer O' Sullivan 50 Cahergal lawn Ballyvolane Rd. Cork
21 Evin Nolan 58 Agnes Rd. Dublin 12
63, 56 Joe Wilson Balhngoola Grange Co l1menck
7 Nigel Rolfe co Oliver Dowling Gallery 19 Kildare St. Dublin 2
22 Anthony O'Carroll c/o David Hendriks Gallery 119 St. Stephen's Green Dubltn 59 Eilia O' Connell 'Feirm Ban' Spur Hill Doughcloyne Togher Cork
3 Gerda Teljeur 22 Trafalgar Tee. Monkstown Co. Dublin
76 Noreen O'Hare 22 Eglantine Ave Lisburn Rd. Belfast 96DX
1 Antonia M c Guane 34 Purcell Pk. Shannon Co Clare
lloyd Nolan 3 Beech Park Grove Caherdavin Lawn Limenck
36 Stephen Snoddy c; o The Ans Counc1l of N .l 181 A. Stranm1lls Rd. Belfast
67 Bill O' Fiynn 7 Sunmount M1htary H1ll Cork
23 Reggie Murphy 'Tir na-nOg' King Quay Lane Blackrock Cork
No work can be marked as sold unless a deposit as part of the catalogue price is paid.
48, 45 Victor Sloan 18 Kernan Grove Ponadown BT62 SRX Co Armagh
72 Gwen O' Dowd 8 Villiers Rd Rathgar Dubhn 6
8 Audrey Mullins 9/10 Bridge St. Carrick-on-Suir Co. Tipperary
46
27,26, 30 Bob Sloan 58 Upr. Mealough Rd. Belfast BT8-8LR
49 lisa Scholand Fisherstreet Doolin Co Clare
52, 35 Blaithin Sheerin 35 M ountainview Rd Ranelagh Dublin 6
The utmost care has been taken in the compilation of thts catalogue, but the Committee does not hold itself respon路 sible for any errors.
A cknowledgments The Committee gratefully acknowledge the assistance of: The Arts Council/An Comhairle Ealaion. The Arts Council of Northern Ireland. The Art Gallery Advisory Committee, Limerick. Triskel Arts Centre, Cork. Project Arts Centre, Dublin. Limerick Corporation. Marian Fitzgibbon, Regional Arts Officer. M echanics Institute, Limerick. Thomond College, Limerick. Irish Elsevier Printing Catalogue M ary Nagle Des1gn Joe Wilson Photography Dan Ryan Truck Rentals Transport Lacey, Droog, O'Donovan, Boland Auditors David Allen. Maiden Billboards
Committee 1981/82 Hugh M u rray Chairman Charles Harper Co-ordinator Tony Rodgers Treasurer Samuel Walsh Press Officer Lorraine Wall Secretary Don MacGabhann John Logan Committee Paul O'Reilly Administrator
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