Elizabeth Magill, Sinead O, 2011. Mixed media on paper. Photograph: Courtesy of the  Kerlin gallery

Aidan Dunne: New exhibition raises question – can drawing survive in a digital age?

Carbon Sync), 200 X 170 X 50cms, Graphite over elm by  Michael Quane.

The swimmer is kept afloat by the environment humanity is in the process of destroying

Put Yourself in the Picture, The Ark portrait project in Dublin Castle

Art inspired by Ulysses, the Burren annual and the search for perfection

Laura Holmes’ Uprooted

This year’s graduates are in the thick of it, and wouldn’t have it any other way

Y6.19 (2019) by Charles Tyrrell

Tyrrell’s body of work is in a sense an autobiography, a record of day-by-day activity

The group exhibition brings together four individual artistic practices that engage with space, interiors and sites using distinct voices and methodologies. Photograph: Kasia Kaminska

TS Eliot’s Waste Land manuscript becomes a starting point for Miranda Blennerhassett, Aleana Egan, Andreas Kindler von Knoblock an(...)

Natalia Black, Northern Lights (2019), Acrylic on Board (detail), from Musica Universales at Green on Red Gallery

Oikeiôsis means ‘coming into one’s own’, and these artists have certainly come into their own

Portrait of Violet Stockley with Rabbit (oil on canvas, c1900) by Walter Frederick Osborne. Private collection, courtesy of the Gorry Gallery

Osborne’s painting of his niece demonstrates his understated though impressive skills

Jeanette Lowe’s Skip Sculpture: on display at Royal Hibernian Academy, 15 Ely Place, until August 10th.

Academy’s 189th outing displays implicit awareness of issues such as housing

Land Sequence Burren, Anne Madden, 1964. Collective View, Boyle.

Aidan Dunne: Arts Council and Civic Art Collection join forces for an exhibition in Boyle

The Past is a Foreign Country (2018) by Anita Groener, installed in The Dock, Carrick-on-Shannon

Groener focuses on the trauma inflicted by strife and migration in the recent past

A Huawei store in Shenzhen, China. Photograph: Qilai Shen/Bloomberg

Move is first major funding test since US curbs on suppliers

Detail from Lamont Cranston (2018) by Larry Poons

The master of American modern painting and sculptor have little in common, except spirit

Treecurtin by David Crone. Courtesy of the artist

From Troubles Belfast to his back garden, David Crone finds riches in his environment

Alan Butler, Death Valley (2018), Lightfast pigment ink on 100% archival cotton-rag paper cold-mounted onto di-bond. 230 x 125cms (detail)

Two shows look at how touchscreens and data overload are rebooting our minds

Margaret Corcoran revisits the National Gallery of Ireland nearly 20 years on from her ground-breaking exhibition An Enquiry

Anne Korff, In Memory of the Last Gardener in Aleppo. Burren College of Art

Anne Korff’s paintings vividly reflect her experience of the refugee crisis

Class Picture VII, oil pastel (2018), Mercedes Helnwein. Photograph: Molesworth Gallery Dublin

Artist’s unsettling work delves into iconography of American childhood and adolescence

Eva Rothschild with Amphi, 2019, resin, fibreglass, wood, spray paint. Dimensions variable. Photograph: Robert Glowacki

Dubliner Eva Rothschild, Ireland’s representative at the Venice Biennale, uses industrial materials to create a compelling sculptu(...)

Doris Salcedo, Plegaria Muda, 2008–2010, Wood, mineral compound, cement and grass (28 units), Dimensions variable, Courtesy of the artist and White Cube Gallery, London. Installation view Doris Salcedo, Acts of Mourning, IMMA, Dublin, 2019. Photograph: Ros Kavanagh

Her home country’s politics underpin the Colombian artist’s art of absence

Tree, by Joe Hanly, during the process of installation in the Highlanes Gallery, Drogheda

Hanly evokes a hyper-connected, troubled world through the symbol of an eternal tree

Mark Dion, Sea Life, 2011. Wooden furniture, plastic objects and jars. Courtesy of the artist and In Situ, Fabienne Leclerc, Paris. Photograph: Rory Conaty

Aidan Dunne: Mark Dion’s cabinets of curiosities hark back to an era of collecting

A new show at the National Gallery of Ireland explores our relationship with the land

Doris Salcedo, Tabula Rasa IV, 2018

In Acts of Mourning, Doris Salcedo looks at violence through everyday domestic objects

Jobst Graeve by Michael O’Dea

A meeting between a painter and an art collector produced an unusual portrait

Sonia Shiel, Never Quieter. Photograph: Gillian Buckely

Works showcase Shiel’s easy facility, while Mooney embraces the challenge of plein air

Artist’s unsettling installations underline the implicit strangeness of everyday encounters with objects, places and materials

David Fox, The container, oil on canvas, Olivier Cornet Gallery

OK: Hannah Fitz creates a sculptural landscape inhabited by footballers

A Bird Never Flew on One Wing by Harry Kernoff

New exhibition features rarely seen works by Ireland’s pioneering modernists

Composition (circa 1922) by Mainie Jellett

A superb early cubist work by a pioneer of modernism in Ireland

Dave West’s Post Office is part of the Diamonds and Rust exhibition at The Doorway Gallery in Dublin.

Derry gets a visit from the works of Dave West and Dublin sees Gabhann Dunne’s

Stephen Lawlor, Red Dragon, SO Fine Art Editions.

Jonathan Hunter and Stephen Lawlor’s exhibitions play with our sense of time

Close Encounters in Venice

Plus: Venice Biennale works on iconic 20th-century buildings, and Ben Reilly

Drawing from Poulaphouca No 3 by Sam Reveles

The Texan has likened his accretive process to the growth of lichen or fungus

Marcel Vidal, White Noise, 2018, RHA Futures

Two ceramicists and two visual artists announced as winners of annual prize

Night Crossing (oil on canvas) by Ian Wieczorek. Image courtesy of the artist

Ian Wieczorek’s paintings address a world of mass surveillance and forced migration

‘In the guesthouse of my mind’ by Bernadette Kiely

Dreamy landscapes and reimaginings of historical pieces are among the highlights

Anthony Haughey, Ihuaku at Taylor’s Folly on the Louth-Armagh border © Anthony Haughey

Field Notes from the Border #1 sees three photographic artists share perspectives

Mary Swanzy, ‘Portrait of Gertrude Jekyll’, private collection

See meditations on environmental catastrophe or relics from raving in Dublin

The Drenched Forest, 2018 (oil and acrylic on canvas, 120x120cm), Cecilia Danell. Image courtesy the artist.

All is not what it seems in Galway-based Swedish painter’s forested landscapes

Stephen McKenna: he quickly recast, or perhaps learned to interpret, abstraction as a pictorial means of making models of the world.

A Painter’s Life exhibition offers insight into artist whose life was process of inquiry

A Dream of Rising Matter by Liliane Tomasko

Exhibitions by Tomasko and Michael Coleman challenge preconceptions

From Made Ground, Green on Red Gallery

Plus work by Wieczorek, Colman, Sullivan, O’Donoghue, Haughey, Nolan and Newman

i Series 07 by Eamonn Doyle

Doyle has been called the saviour of street photography, and it’s not hard to see why

Estella Frances Solomons, City Quay, Dublin, etching. Courtesy the estate of Estella Solomons/board of Trinity College Dublin

Making Their Mark, at the National Gallery of Ireland, casts light on early 20th-century painter-etchers

Away (2019) by Patricia Burns

Burns’s preoccupation is a certain ambivalence about suburban, in-between space

Ulysses Bolted (2019). Photograph: Marie Hanlon

Marie Hanlon’s sculptural installations engage with books in their natural habitat

Maro Itoje during an England training session. Photograph: David Rogers/Getty Images

Robshaw won the last of his 66 caps during the 2018 summer tour to South Africa

‘It’s All About Books’, Marie Hanlon’s exhibition at  Cregan Library DCU

One Here Now final instalment features work by Brian O’Doherty and alternate persona Patrick Ireland

Two Figures on a Boat by John Lavery. Photograph: National Gallery of Ireland

A great society painter’s solo voyage into etching

From ‘Twelve by Twelve by Two’, Ronan McCrea, Temple Bar Gallery

Ronan McCrea checks his credit at the image bank; Graphic Studio marks 30 years

James McCreary’s work  was among the first  to be sent to clients from  Behaviour & Attitudes and Graphic Studio.

Aidan Dunne: 18 artists explore the words we cannot say in Letterbomb at Synge St

Robert Armstrong, ‘Kiribat’

‘Squeegee Paintings’, the new exhibition by the former head of painting at NCAD, is all about what's left out

Detail from Landline Gray (2015) by Sean Scully (see full work below). Collection of the Hugh Lane Gallery, Dublin, copyright the artist

Sean Scully’s Landline paintings link minimalism to northern European romanticism

View of eastern side of the Umayyad Mosque, Damascus (715 CE). Photograph: Stephennie Mulder

Stephennie Mulder aims to expand the usual ‘European story’ and outlook on art history

Rome Wasn’t Built in a Day (detail) by Fergus FitzGerald

Fergus FitzGerald, Martin Redmond, Robert Armstrong, Siobhan McDonald, Stephen McKenna

Points of view in Waiting for Godot: the Gate Theatre Production, (Colour photograph, 2002-2003) Gerard Byrne. Image courtesy of AIB Collection

Byrne’s image of the Gate production reflects his interest in cultural representations

The Streets, Our Brushes, Marielle Mac Leman at the LAB Gallery. Photograph: Peter Varga

Ingenious work by artist Marielle MacLeman delves one of the oldest areas of Dublin

Människans Form, Nicholas Benedict Robinson

Also: ‘Crossing Permissions’ by Sinéad O’Donnell; ‘Armed Men’ by Mick O’Dea

 The skull sectioned, a pen and ink drawing with traces of black chalk by Leonardo da Vinci. Photograph: Royal Collection Trust

Da Vinci is known for a handful of iconic works but drawing was utterly central to everything he did

Brian Eno: The long form has a place in contemporary culture. Image courtesy of the artist and Lumen, London

The ‘Renaissance man’ on his Irish connections and his ‘deliberately slow’ epic artwork 77 Million Paintings at the RHA in Dublin

Art in Focus: from Mark Francis’s White Light (Dual Dimension). Courtesy of the artist and Kerlin Gallery, Dublin

Mark Francis fixes his interest on the world beyond the limits of conventional vision

Detail from Leah Beggs, Should Have Gone With You, at the  Solomon Gallery

Light, mist and wonder from Leah Beggs and a group of four artists explore creativity through chance in Some Concrete Possibilites

Portrait of Miss Muriel Swanzy, 1907. Private Collection, courtesy Mary Swanzy Estate

The Dublin-born artist remains something of an enigma in both her life and her art

Endlessly changing: one configuration of  77 Million Paintings, by Brian Eno

Brian Eno’s music and image installation has been endlessly reinventing itself since 2006

The Venetian by Sven Sandberg, at Berlin Opticians Gallery

Sven Sandberg, Amanda Doran, Andrew Simpson, Leah Beggs and Ruth O'Donnell

Jumana Manna, Wild Relatives (2018) installation view. Courtesy of the artist and the Douglas Hyde Gallery, 2019. Photograph: Louis Haugh

Seeds, plants, people and geopolitics intersect in Jumana Manna’s film ‘Wild Relatives’

 Gerry Davis’s 'Wedding Car' makes sense in that every element is easily legible, visually, but it is also a little odd

The Limerick-based artist re-imagines his own wedding with a magic realist twist

Some Concrete Possibilities is at the   Library Project in Dublin

Eva O’Leary holds a mirror up to teenagers, and a group exhibition looks at surveillance

Still from ‘Inscriptions of an Immense Theatre’, Ailbhe Ní Bhriain. Image courtesy  courtesy the artist and Domobaal Gallery, London.

In her new film work Ailbhe Ní Bhriain muses on the legacy of imperialism and an uncertain future

Winter Wanderer, Cecilia Danell. Kevin Kavanagh Gallery

From Limerick to Armagh, there’s a range of themes and works to explore

Protest Crowd, London (Brexit 2, June 2018 ) 2018 by Joy Gerrard

Gerrard’s images of crowds massed in cities reflect a new era of mass protest

 Academy House, front elevation. Francis Johnston PRHA (1760–1829). Courtesy of the Irish Architectural Archive

John Turpin’s RHA history reveals an institution fighting for its life for nearly 200 years

From Wild Relatives, Jumana Manna, Douglas Hyde Gallery

Aidan Dunne: Niamh Barry’s edge lit sculptural lighting pieces at the National Museum of Ireland

JMW Turner: from A Ship against the Mewstone, at the Entrance to Plymouth Sound. Photograph courtesy National Gallery of Ireland

Turner’s watercolour brilliantly conveys the drama and danger of negotiating a coastal hazard in heavy seas

Harry Clarke, Madeline, St Agnes’s charmed maid (detail), design for the Eve of St Agnes window, circa 1923. Collection: Crawford Art Gallery

The work is not on permanent display, so now is your chance to see it

Canaletto, San Geremia and the Entrance to the Cannaregio, c. 1726-7,Oil on canvas, 65.5 x 96.9 x 10.0. Courtesy of the Royal Collection, National Gallery of Ireland

This week’s visual art highlights include fine shows at Imma, Crawford and Hunt Museum

Susan Buttner, Architecture: Spaces of Interaction and Everyday Power, 2018.

Disjuncture or rupture, in terms of time, space and more is the overarching theme of the work on show

Kilkenny by Olwen Fouéré (2016) by Mick O’Dea

O’Dea’s portrait of Fouéré is fast, sketchy and spontaneous, a record of the moment

Windfall by Paul Ringrose

Paul Ringrose’s new paintings address show a shattered place where trees have been snapped like matchsticks

 Cattle in Winter, Phoenix Park, Oil on board, John Skelton. Jorgensen Fine Art

Check out the Christmas exhibitions, and pick up some artworks for under €500

For GRS by Colin Davidson

A painter best known for his realist portraits turns to floral still life

Art highlights from 2018 include the Roderic O’Conor show at the National Gallery (centre)

Year in Culture Review: Commercial galleries are under pressure despite rising economy but art still thrives

Richard Mosse, Heliniko Olympic Arena, 2016

Irish artist’s work contrasts with that of others in the Gallery of Photography

Canaletto and Venice: An extraordinary painter of an extraordinary city. Images courtesy of the National Gallery of Ireland and the Royal Collection Trust

Dazzling paintings, drawings and prints by the greatest painter of the Italian city

Vox Hybrida 1 by Alice Maher

Inspired by a medieval carving of a mermaid, Tipperary artist’s woodblock prints and bronzes aim to redefine representations of wo(...)

Laura Fitzgerald, Brian Rock, 2018, video research still from video ‘Portrait of a Stone’. Image courtesy of the artist.

The RHA’s annual Futures show finds emerging artists facing uncertain times

Barbara Knezevic, Tools for wellbeing, ‘Scapes: Rose Quartz’, 2018. Installation detail

This week’s visual art highlights

Liam Gillick, “Liability Channelled”, (detail), powder-coated aluminium, 32 x 90 x 8cm. Image courtesy the artist and Kerlin Gallery

In his multifarious work the artist considers his own role in modes of production: industrial, artistic, intellectual

Pour Hosseini’s protagonist, a wary, restless hybrid creature wearing a bird of prey face mask and the tattered remnants of a gown

Iranian artist Atoosa Pour Hosseini reimagines the Co Kerry islands in the lyrical ‘Kinetics in Blue’

On of the phpotographs that for part of My Magnetic North, by Gary Coyle

The latest instalment in his reflections on identity, place, death, memory – and demons within and without

Maeve McCarthy, In the garden, oil on linen, Molesworth Gallery

Maeve McCarthy’s new paintings are quiet and still, but also evoke restlessness

The Augurs I, II and III, by Martin Healy. Image courtesy Butler Gallery, installation photography by Roland Paschhoff

Healy uses birds of prey as a metaphor for a fundamentally flawed view of nature

Blaise Smith: My Parents. Allen and Elizabeth Smith, 2018, Oil on canvas, 70 x 100 cm, © Blaise Smith, Photograph © National Gallery of Ireland

After a 25-year gap, the artist is exhibiting – and seeking enlightenment – again

Besides building up the stained-glass business, Clarke looked for work as an illustrator and won several commissions from Harrap

A collection of essays enriches our view of the great Irish stained-glass artist and illustrator

Detail from ‘Lost Highway Guy’ (2018) by  Mark Francis Photograph: Kevin Kavanagh Gallery

Mark Swords’ paintings explore the multifaceted nature of everyday experiences

Thomas McCarthy in a video still from ‘My Comfort and My Joy’ at Douglas Hyde Gallery

Seamus Harahan captures ‘extremely held otherness’ in filming sean-nós singer Thomas McCarthy

A section of ‘Song of Lasting Sorrow’, two 10m painted handscrolls by the Japanese painter Kano Sansetsu

A masterpiece of Japanese scroll painting shines through the centuries

‘Edward Carson’ in Furtive Tears, Niamh McCann, The Hugh Lane Gallery. Photograph:  Lee Welch

Visual art: Niamh McCann’s new video work plays with layers of cultural signifiers

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