For the new issue of Source, I wrote about ‘Parr’s Ireland: 40 Years of Photography’, an exhibition at Dublin’s Gallery of Photography, 26 Jun – 4 Sep 2021. The text isn’t available online, but as always, the fine new issue of Source is worth every cent. https://www.source.ie/index.php

Short piece on the forthcoming Artists’ Basic Income pilot that will begin rolling out in Ireland sometime in Spring 2022. https://artreview.com/the-case-for-artists-basic-income/

Review of Anne Tallentire’s excellent recent exhibition at the MAC in Belfast, for the January 2022 issue of Artforum. https://www.artforum.com/print/reviews/202201/anne-tallentire-87469

A fairly long essay on the various manifestations of Ireland’s ‘Pavilion’ at the Venice Biennale. Available to access /purchase here… https://www.intellectbooks.com/journal-of-curatorial-studies

For Source Photographic Review Issue 104 I interviewed the amazing photographer Ori Gersht. The mag is available to buy here: https://www.source.ie/archive/issue104/is104contents.php

Review of Yuri Pattison’s recent / current show at the Douglas Hyde Gallery (with everything opening and closing, starting and stopping, I’ve no idea what’s ‘recent’ and what’s ‘current’). https://www.artforum.com/print/reviews/202104/yuri-pattison-85282

Short review of Katie Holten’s Irish Tree Alphabet at Visual, Carlow. https://www.artforum.com/picks/katie-holten-84166

Review of Mairead O’hEocha at Temple Bar Gallery & Studios for the July/August 2020 issue of Artforum. https://www.artforum.com/print/reviews/202006/mairead-o-heocha-83332

An essay to accompany a new film by Willie Doherty, commissioned and screened online by Kerlin Gallery (Dublin), Galerie Peter Kilchmann (Zurich) and Alexander & Bonin (New York. “Willie Doherty: Endless” — Essay. The film screens on the gallery websites until June 16th.

A short text for the special feature on ‘Four Decades on Irish Sculpture’ in the recent (100th) issue of the Visual Artists’ News Sheet. Some scholars of the 1998 Good Friday Agreement hail it as a model of ‘constructive ambiguity’ — an artfully uncertain structure, open-ended enough to invite contrasting interpretations of its contents. Evasive language […]