Since its inception, The F.E. McWilliam Gallery has gained an impressive reputation for programming important retrospectives of Irish Modernists and innovative thematic exhibitions.
Spanning 25 years of a practice embedded in historical and empirical research, Zarina Bhimji portrays buildings and architectural surfaces as “protagonists” in an unpeopled landscape of violence.
Last Days of the Arctic is a moving and insightful photographic portrait of a disappearing landscape and the Inuit people who inhabit it, by celebrated photojournalist Ragnar Axelsson.
The Sound of Two Songs is Mark Power’s photographic survey of Poland, formed and collected over five years. He made his first visit to Poland as part of a project to capture countries joining the EU.
Alex Dordoy’s work exists at the threshold of completeness and often retains the potential for change, or even destruction. He uses a range of materials including glass and plaster.
There are certain exhibitions whose titles are so ambiguous and nonsensical that even before attending the show you are met with a quiet sense of dread on whether you will get it.
The fifth annual Northern Art Prize, worth £16,500, has been won by Merseyside-based artist Leo Fitzmaurice, it was announced at Leeds Art Gallery.
Vorticist!, Kettle’s Yard’s latest show, draws deserved attention to a sculptor whose career was as important and impressive as it was brutally short.
Museum Show Part II, the second part of the Arnolfini’s ultimate 50th anniversary exhibition, continues exploring the preoccupations touched upon by Museum Show Part I.
Mosse is known for his restraining and aestheticised views of sites associated with violence and fear, such as his depictions of the war in Iraq, and his photographs of aeroplane crash sites.
An exhibition of drawings by Donald Judd opens tomorrow at Sprüth Magers London. Covering nearly the entire period he made three-dimensional work, the show is curated by Peter Ballantine.
This is not the sort of behaviour typically encountered in an art installation. In the foyer of Carriageworks, seven hand-painted caravans are being poked and prodded by curious audiences.
The importance of creativity in advertising has been widely recognised for decades. A creative ad campaign has to be both divergent and relevant.
Global Lens is a touring film exhibition, organised annually between MoMA and the Global Film Initiative. It is designed to encourage filmmaking in countries with emerging film communities.
Graham Sutherland (1903-1980) was an official World War II artist from 1941-44. He was commissioned to paint scenes of bomb devastation, as well as work in mines, quarries and foundries.
Below the gilded King Edward VII chandeliers and between the Italian travertine engraved marble walkway the exhibition Contemporary Art in Northern Ireland is situated in The Great Hall of Parliament Buildings at Stormont.
We Have A Body is a comprehensive solo exhibition by Mette Winckelmann. Winckelmann initiates a dialogue with Den Frie Centre for Contemporary Art’s architecture and history.
United Enemies brings with it the spirit of Arte Inglese Oggi – a 1976 British Council show featuring the work of many of the artists included – but concentrates on the complex nature of British sculpture in the 1960s and 1970s.
This year the arts have been subject to a double squeeze – big falls in business contributions to the arts coupled with the much documented cuts to funding from the public sector.
