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 oft he 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 a I so 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 I ready 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
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
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 of Art & 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 Management 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
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)
Committee Members 1977-1985
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
* denotes founder member
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Previous Award Winners
Patrons' Award 1979 Felim Egan 1980 Tom Fitzgerald 1981 Tom Fitzgerald 1982 Breda Kennedy 1984 Jim Manley
Painting Award 1977 Graham Gingles/Aian Robb
• 1978 Anthony O'Carroii/Siobhan Piercy 1979 Michael Coleman/Barrie Cooke 1980 Michael Coleman/Jack Donovan 1981 Ben Stack 1982 Ann Carlisle 1984 Camille Souter
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
Graphics Award 1977 Alan Green/Paul Masse 1978 Joel Fisher/Brenda Kelliher 1979 John Aiken/Joseph Lee 1980 Michael O'Neill/Don MacGabhann 1981 Donald Teskey/M iriam Flanagan 1982 Will ie Heron 1984 David Lilburn
Honourable M entions I (at the discretion of the adjudicator)
1 1977 Patrick Harris, Daniel O'Gorman,
Benedict Tutty, I an Sutherland, Michael O'Neill.
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Sponsors 1985 Committee
THE ARTS COUNCIL Chairman
LIMERICK CORPORATION Tony Rodgers
Allied Irish Banks pic. Secretary Lorraine Wall
Aughinish Alumina Ltd. Finance Bank of Ireland Brendan Lane
Elsevier Scientific Publishers Publicity Ireland Ltd. Hugh Murray GPA Group Ltd. Committee Helene Modes. Vivienne Bogan • Howmedica International Inc. Gerry Dukes KMG Reynolds McCarron. Charles Harper Krups Engineering Ltd. Paul Lynam • Limerick Cargo Handling Ltd. Robert O'Byrne
Mid-West Branch Royal Institute of Administrator Paul O'Reilly Architects of Ireland.
Vivienne Bogan Limerick. The Stoneyard Ltd. Charles Harper
Robert O'Byrne Tulia Electronics Ltd. Lorraine Wall Varian Instruments - Ireland. Verbatim Ltd. Vitalograph (Ireland) Ltd. Lectures Sub-Committee I Walsh Western International Ltd. Terry Leahy
Wang Laboratories Ireland b.v. John Logan Paul Lynam Samuel Walsh
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Note to Art Teachers
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 fine 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 hindrance 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-poli tical, economic and technological effects of this bias would require more than a li tt le 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 represents. 2. Liberating colour and texture from subordination to the visual bias for detail and
real igning 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 western 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 oft hat 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 of 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.
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 celebrates.
Paul M . O'Reilly
Moycarkey, September 1985
1942 1960-66
1967-74
Since 1975
Rudi Fuchs, Adjudicator
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,
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1984
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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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Adjudicator's Note
All the world's styles, and the fashions 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 MacKenna 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
Graphics Award £750 Triona Ford Demolition/Excavation
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Open Award £1,250
Tracy MacKenna No Three Fishes Mixed Media on Paper 120x84
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.
Martin Yelverton The Boreen to Colhanes Old House Oil on Board 25 X 18
Biographical Note Born in County Clare 1966. Studied in Limerick School of Art and Design.
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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Cormac Boydell 3 Man of Ecstasy
Ceramic £1 ,250 274 X 183 X 46
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Frank Lee Cooper 2 Tilt Two
Earthwork NFS 76 X 305 X 305
Mary Delmage 4 Crabshe/1 Ill
Watercolour £20 10 X 12
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Bob Baker 5 Skeletal Study
Acrylic on cotton £595 171 X 223
James Coleman 7 So different 0 0 0 and yet
Mixed media on paper £1,700 79 X 100
Michael Coleman 6 Through Black
Oil on Linen £800 150 X 150
Jill Dennis 8 My Birthday
Oil on Cotton £360 159 X 135
Mickey Donnelly 9 Untitled ('84)
Acrylic & Pastel on Board £450 152 X 121
Fellm Egan 11 Apollo IX
Acrylic on cotton £1,500 170 X 170
Mickey Donnelly 10 Untitled ('85)
Acrylic & Pastel on Board £450 152x121
James E. Fearon 12 Letting It Bleed
Spectrum on Cotton £300 182 X 152.
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Gerry Gleason 13 Rise & Fall
Kiss My Ass Mixed media on paper £150 88 X 62
Trionaford 15 Demolition/Excavation
Charcoal, Crayon on Paper £300 73x 100
GRAPHICS AWARD
Brian Maguire 14 Parental Relationship
(ADULT) Acrylic on Cotton £1,000 186x114
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
Charles Harper 19 Talk Talk Talk
Watercolour on Japanese Paper £450 60 X 90
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Tim Goulding 18 Reeds & Reflection 6
Oil & Acrylic on cotton £1,425 153 X 122
' Roy Johnston
20 Displacement Series Mixed media on paper £450 96 x65
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Breda Lynch 21 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 72 X 57
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Ciaran Lynch 22 Landscape
Mixed media on paper £200 63 X 78
John Kindness 24 Bill School Dog
Mixed £800 86 X 120 X 50
Helen Commerford 25 Burren Landscape
68 pencil on paper £590 203 X 152
Letitia McCandless 27 Untitled
Mixed media on Paper £200 57 X 76
PATRONS' AWARD
Tracy MacKenna 26 No Three Fishes
Mixed media on Paper £180 120 X 84
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
Jim Manley 31 Blue Vase II
Mixed media on Paper £250 51 X 53
Bernadette Madden 30 Stone
Resist Dyed Fabric £650 96 X 75
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Tom Fitzgerald 32 "Apparatus - The
Shadow Machine" Mixed media on Perspex £425 90 X 124
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33 Downeys Shop Door Mixed media NFS 183 X 183 X 61
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Anna Moore 35 Drawing
Pencil, crayon on Paper £50 35 X 27
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Simon M oller 34 Untitled
Mixed media NFS 198 X 168 X 91
Michael Mulcahy 36 Thunder
Mixed media on Cotton £1,500 161 X 168
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Ellis O'Connell 37 Striking Example
Painted Steel £700 38 X 88 X 24
Deirdre O'Connell 39 Untitled
Charcoal & Conte on Paper £400 135 X 100
Eilis O 'Connell 38 Nunivak Voyage
Painted Steel £1 ' 1 00 120 X 136 X 10
Deirdre O'Connell 40 Untitled
Charcoal & Conte on Paper £400 135 X 100
SCULPTURE AWARD
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41 Lets Wait Before The Madness Of The Weltz Oil on Cotton £500 170x 208
Laurence O'Neill 43 Untitled (B)
Acrylic on Cotton £190 76x65
RonanWalah 42 Porte De Chappell (Metro)
Oil on Cotton £900 157 X 214
Slobhan O'Connor 44 John & Julie
Acrylic on Cotton £500
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Jack Pakenham 45 "You Are Now Entering
Free Ireland" Acrylic on Board £600 90x90
Mark Pepper 47 ActofMalice
Oil onConon £500 153 X 122
Jack Pakenham 46 Image for Ulster
Acrylic on Board £600 90x90
Mark Pepper 48 CurrentA ffairs
Oil onConon £500 153x 122
Geraldine O'Reilly 49 'Surrounded by Clues'
Mixed media on paper £200 42.5x42.5
Chris Robinson 51 Untitled
Graphite & Acrylic N.F.S. 47x37
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Kathy Prendergast 50 Untitled 1985
Watercolour on paper £250 56x76
Simon Reilly 52 Untitled
Oil on Cotton £650 151x151
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Tom Shortt 53 Self-Portraits
Monoprint £75 42x 29.5
Richerd Slade 55 Between The Swelling
Gates Oil on Board £500 182 X 122
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Tom Shortt 54 Faces From The End Of An
Era Monoprint £75 42x 29.5
Stephen Snoddy 56 Fui/Moon
Charcoal on Heritage Paper £150 102x81
Claran Taylor 57 Lake One: Red in Green
Oil on Cotton N.F.S. 202x 170
Sean Mulcahy 59 Memoirs Vol. 81.85
Ink on Paper £85 16 X 24
Claran Taylor 58 Lake Two: Red in Blue
Oil on Cotton N.F.S. 202x 170
Seen Mulcahy 60 Memoirs Vol. 82.85
Ink on Paper £85 16 X 24
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Jacqueline Stanley 61 4 Changes Caran Hill
Mono type £250 48x69
Mhairi Sutherland 63 Striking Poses
Mixed media on Paper £165 44x30
Nick Stewart 62 No Title
Charcoal on Paper £500 153x 153
Niamh Collins 64 Toothbrush
Oil on Paper £135 46 X 59
Samuel Wal•h 85 Drawing 89
Charcoal and graphite on paper £300 75 X 110
PAINTING AWARD
Martin Yelverton 87 "The Boreen to Colhane's
Old House" Oil on Board N.F.S. 25x 18
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
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)
Ann Cronin 70 Untitled
Photograph £75 40 X 50
List of exhibitors
5 Bob Baker 9,10 Micky Donnelly 68 Cecil King c/o Limerick School of 22 Eglantine Ave. c/o Oliver Dowling Art and Design Belfast BTG 6DX Gallery Georges Quay 19 Kildare Street Limerick 11 FellmEgan Dublin 2
1 Marie Barrett c/o Oliver Dowling Gallery 21 Breda lynch
Sprackburn Art Group 19 Kildare Street 2 Sunnyside High Road Dublin 2 Barringtons Ave. Letterkenny Ballintemple Co. Donegal 12 James E. Fearon Cork
3 Cormac Boydell Flat 2 16 Eglantine Ave. 22 Cia ran lynch
Alii hies Belfast BT9 6DX Parkswood Bantry Passage East Co. Cork 32 Tom Fitzgerald Co. Waterford
'Ardlea' 7 James Coleman Knockbrack East 27 letitia McCandless
c/o 189EmmetRoad Lisnagry Sprackbu rn Art lnchicore Co. Limerick Group Dublin 8 High Road
' 15,16 TrionaFord Letterkenny 6 Michael Coleman Ardower Taylors Hill Co. Donegal
c/o Oliver Dowling Galway Gallery 26 Tracy MacKenna 19 Kildare Street 17 Richard Gorman Grangehill Dublin 2 c/o Hendriks Gallery Ovens
119 St. Stephens Green Co. Cork 64 Nlamh Collins Dublin 2
47 Margravine Road 28 Anna lind Macleod London W6 8LL 13 Gerry Gleason 37 Clarinda Park East
38 Burnside Avenue Dun Laoghaire 25 Helen Commerford Saintfleld Road Co. Dublin
3 Morningside 5 7 ,58 Ciaran Taylor Summerhill South De Vesci Lodge Cork City De Vesci Terrace
45,46 Jack Pakenham Dun Laoghaire Co. Dublin
21 Carolhill Drive Belfast 6 9 AnneTimony
28 Castlewood Ave. 47,48 Mark Pepper Rathmines
• 64AIIiance Road Dublin 6 Belfast BT14 7 J B
42 Ronan Walsh 50 Kathy Prendergast Temple Bar Studios
• c/o Hendriks Gallery 4-7 Temple Bar 119St. Stephens Green Dublin 2 Dublin 2
62 Simon Reilly 65 Samuel Walsh c/o Oliver Dowling
2A Lis burn Road Gallery Belfast BT9 19 Kildare Street
Dublin 2 41 Stephen Rinn
48 Delwood Road 66 Oliver Whelan Castleknock 37 Clarinda Park East Co. Dublin Dun Laoghaire
Co. Dublin
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.
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.
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Acknowledgements
The committee gratefully acknowledges the assistance of:
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 .
The utmost care has been taken in the compilation of this catalogue, but the committee does not hold itself responsible for any errors.
