The Alfred Beit Foundation’s proposed sale of nine paintings that were supposed to be ‘for the enjoyment of the Irish people’ caused outrage.
Russborough and the Beit collection together form a national treasure, and should be treated as such
Russborough obtained export licence for ‘Portrait of a Monk’ and two more Rubens
Alfred Beit Foundation’s licence covers 10 paintings including three worth over £1m
NCAD’s troubles spilled into its degree show, although there was work of note there and at DIT and IADT
Dancer is offering 25 pictures for sale as part of new Firedance exhibition in London
Bedwyr Williams shows us a broken-down future; while Gypsy Ray’s photographs display great warmth
The idea of a living wage has been around since the 1700s, but Switzerland is set to put it to a vote next year
Sam Keogh’s fine new exhibition explores our treatment of human remains and what it reveals about us
Heather Humphreys presents prizes to young artists at Royal Hospital Kilmainham
Against the odds, the RHA is still around, with this year’s exhibition one of its best. And despite our changing tastes, portrait painting has survived the advent of the selfie
Karla Black’s Imma show falls short of allowing access to an imaginative space
Venice’s first African-born curator, Okwui Enwezor, is on a mission to clean up the spiritual home of the art world and remind us of its social and political responsibilities
Fearing nuclear attack, Yugoslavia’s Marshal Tito built an enormous secret bunker in Bosnia and Herzegovina. Now it’s an unusually eerie art gallery
The controversial mosque at the Venice Biennale by Swiss artist Christoph Büchel is the latest work in a long line to test the limits of art
Although seen as an Impressionist, the painter was never comfortable with the term and even derided its proponents
Visual Art: Ciarán Óg Arnold’s photographic book shows us a world of drinking, messing and masculine swagger
Poland’s Philharmonic Hall in Szczecin wins Mies van der Rohe prize
Two intriguing group exhibitions ask whether we can believe our eyes
Is selling Alec Soth’s ‘intangible’ photographs a cynical ploy to feed the First World’s need to need, or does it reveal something about the parts of us that only art can reach?
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