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Joe Caslin new mural "Seen" unveiled in Dublin June 2026

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Joe Caslin new mural "Seen" unveiled in Dublin June 2026

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Irish street artist and activist Joe Caslin unveils SEEN on Dublin's Townsend Street

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RTÉ News on Instagram: "The Irish passport has been given a makeover.

The new design will begin appearing in passports issued through the Passport Service from today.

And the Celtic breed, the Irish Wolfhound, features throughout. 

📲Link in bio for more

#passport #ireland"

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11K likes, 225 comments - rtenews on June 26, 2026: "The Irish passport has been given a makeover.

The new design will begin appearing in passports issued through the Passport Service from today.

And the Celtic breed, the Irish Wolfhound, features throughout. 

📲Link in bio for more

#passport #ireland". 

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View this post on Instagram

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Victoria Beckham and artist Phoebe Collings-James speak about their new artistic collaboration

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Victoria Beckham and artist Phoebe Collings-James speak about their new artistic collaboration

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Samuel Nagel and Paul Feiler win the Rimowa Design Prize 2026

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The creative duo’s ‘Nura’ bracelet wins the latest edition of the Rimowa Design Prize, which looks to the next generation of creative talent in Germany for ingenious ways to support mobility

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RTE news : Why are people fighting over Swatch watches?

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RTE news : Why are people fighting over Swatch watches?

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Why are people fighting over Swatch watches?

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Swatch’s in-demand watch collabs are part of the “enrichment economy”, where something in short supply can be resold at a profit

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RTE news : Clarke windows property of Bewley's owners, court rules

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RTE news : Clarke windows property of Bewley's owners, court rules

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Clarke windows property of Bewley’s owners, court rules

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The Supreme Court has ruled that the six Harry Clarke stained-glass windows in Bewley’s Café on Grafton Street in Dublin are the property of the building’s owner.

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RTE news : Iconic Aran jumper to be celebrated on postage stamps

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RTE news : Iconic Aran jumper to be celebrated on postage stamps

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The iconic Aran jumper is being celebrated by An Post with the launch of a new stamp collection.

There are two designs - the N stamp for domestic post shows an Aran jumper mid-knit, with needles and wool. The W stamp for worldwide postage depicts a completed jumper, showcasing Irish craftsmanship.

The stamps were designed by illustrator Sally Caulwell and An Post said they mark the "endurance of the timeless jumper".

Postmistress Kathryn Keady (R) and handknitter Rosemary Faherty on Inis Mór (Pic: Andrew Downes)

Stamp Design Manager with An Post, Aileen Mooney, said the new stamps symbolise Irish resilience, creativity and identity.

"The stamps came about as part of our Stamp for Ireland series, where we cover a stamp topic that is a symbol of Irishness, both in Ireland and around the world.

"Previously, we'd have done Irish breakfast or the weather, specifically the rain, and this time around, we're celebrating the Aran jumper which is such a part of the Irish identity.

"It's also something that is sustainable fashion, which is really popular and really important to Irish business," said Ms Mooney.

Tommy Keady, son of postmistress Kathryn Keady on Inis Mór - (Pic: Andrew Downes)

"The Aran jumper got its first big international outing in the 1950s when the Clancy brothers wore the knitwear on a trip to America.

"The jumper stayed in vogue with celebrities such as Marilyn Monroe and Elvis Presley, and, more recently, Taylor Swift [showcasing it].

"Ireland's Olympians also sported the jumper at the opening of the Winter Olympic Games in recent weeks," added Ms Mooney.

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Iconic Aran jumper to be celebrated on postage stamps

# data[].attributes.attachment_link.description
The iconic Aran jumper is being celebrated by An Post with the launch of a new stamp collection.

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New Banksy artwork appears on court building showing judge attacking protester | UK News | Sky News

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New Banksy artwork appears on court building showing judge attacking protester | UK News | Sky News

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New Banksy artwork appears on court building showing judge attacking protester

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Banksy’s mural shows a protester on the ground holding a blood-spattered placard, while the judge, in a wig and gown, looms over them wielding a gavel.

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Cost to renovate Cork's Crawford Art Gallery triples as TDs raise concerns

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Cost to renovate Cork's Crawford Art Gallery triples as TDs raise concerns

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Cost to renovate Cork’s Crawford Art Gallery triples as TDs raise concerns

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The project was originally estimated to cost €28m

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Research shows art can be good for your health | News UK Video News | Sky News

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Research shows art can be good for your health | News UK Video News | Sky News

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Research shows art can be good for your health

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A King’s College London study involving masterpieces by artists including Manet, Van Gogh and Gauguin has shown that art immediately calms the body.

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What we can learn from Louvre heist | World News | Sky News

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What we can learn from Louvre heist | World News | Sky News

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Sky’s Katie Spencer looks into the lessons to be learned after thieves broke into the Louvre in broad daylight and accessed a section housing royal jewels.

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5 Positive Effects of Art on Mental Health

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5 Positive Effects of Art on Mental Health

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5 Positive Effects of Art on Mental Health

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It is scientifically proven that art has positive effects on our mental wellbeing and can improve our mental health. But how?

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Irish Artist creates stunning pieceinspired by moving away from home

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Irish Artist creates stunning pieceinspired by moving away from home

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Lovin Ireland on Instagram: "@jordanbreen_art has created this gorgeous print he feels many will relate to☘️⁠
⁠
“It’ll fly in” was inspired by Jordans experiences of moving away from home, captured beautifully on this print available through @jordanbreen_art👏 ⁠"

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16K likes, 82 comments - lovindotie on October 6, 2025: "@jordanbreen_art has created this gorgeous print he feels many will relate to☘️⁠
⁠
“It’ll fly in” was inspired by Jordans experiences of moving away from home, captured beautifully on this print available through @jordanbreen_art👏 ⁠". 

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View this post on Instagram

A post shared by Lovin Ireland (@lovindotie)

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Kilkenny sculptor who has stirred debate is an undeniable master of his craft

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Kilkenny sculptor who has stirred debate is an undeniable master of his craft

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Kilkenny sculptor who has stirred debate is an undeniable master of his craft

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The intricacies of the provocative Púca and a recent incredibly lifelike bust of Gerry Adams have established Kilkenny artist and sculptor Aidan Harte as a master of his craft

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"It’s amazing to see this mural here where Ciara grew up'... CMAT's mam speaks on daughter's growing success

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"It’s amazing to see this mural here where Ciara grew up'... CMAT's mam speaks on daughter's growing success

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‘It’s amazing to see this mural here where Ciara grew up’… CMAT’s mam speaks on daughter’s growing success | Meath Chronicle

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The people of Dunboyne came out to see CMAT unveil a stunning new mural of the singers

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Anne O'Shea on styling Siobhan McSweeney for The Traitors

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Anne O'Shea on styling Siobhan McSweeney for The Traitors

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Anne O’Shea on styling Siobhan McSweeney for The Traitors

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Sínann Fetherston speaks with stylist Anne O’Shea about the incredible looks she sourced for Siobhan McSweeney on The Traitors.

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RTE news : Portraits of Ruth Negga and Stephen Rea unveiled at NGI

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RTE news : Portraits of Ruth Negga and Stephen Rea unveiled at NGI

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Portraits of Ruth Negga and Stephen Rea unveiled at NGI

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Portraits of Irish actors Ruth Negga and Stephen Rea have been unveiled at the National Gallery of Ireland.

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LEGO Yellow House model installed at Van Gogh Museum

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LEGO Yellow House model installed at Van Gogh Museum

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LEGO Yellow House model installed at Van Gogh Museum

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The Van Gogh Museum in Amsterdam has revealed a striking new LEGO attraction – a large-scale recreation of the iconic Yellow House.

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Dublin silversmith 'overwhelmed' by support after robbery

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Dublin silversmith 'overwhelmed' by support after robbery

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Verifying you are human. This may take a few seconds.

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Museum’s CCTV shows moment visitor broke artwork by sitting on it

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Museum’s CCTV shows moment visitor broke artwork by sitting on it

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Museum’s CCTV shows moment visitor broke artwork by sitting on it | CNN

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A crystal-covered chair inspired by one of Vincent Van Gogh’s most famous paintings was seriously damaged when a tourist sat on it while posing for a photograph, according to the Italian museum where the artwork is on display.

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Louvre museum shuts its doors as staff say they are overwhelmed

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Louvre museum shuts its doors as staff say they are overwhelmed

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Overwhelmed and understaffed, the Louvre shuts its doors – a warning sign for global overtourism | CNN

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The Louvre, the world’s most-visited museum and a global symbol of art, beauty and endurance, remained shuttered Monday — not by war, not by terror, but by its own exhausted staff, who say the institution is crumbling from within.

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My Weekend: ‘Catching up with friends is such a salve’

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My Weekend: ‘Catching up with friends is such a salve’

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My Weekend: ‘Catching up with friends is such a salve’

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Cork artist Michael Quane says lie-ins don’t always happen at the weekend, but he is a fan of a “linger-in” when he read or write.

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'French Banksy’ James Colomina strikes again with new sculpture in Toulouse

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'French Banksy’ James Colomina strikes again with new sculpture in Toulouse

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‘French Banksy’ James Colomina strikes again with new sculpture in Toulouse

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James Colomina talks about his most recent installation, and the meanings behind his artworks

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100 Buildings: The Tipperary bus station reborn as an arts centre

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100 Buildings: The Tipperary bus station reborn as an arts centre

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Verifying you are human. This may take a few seconds.

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RTE news : Tom Crean, Irish comic book hero: inside the new graphic novel

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RTE news : Tom Crean, Irish comic book hero: inside the new graphic novel

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Verifying you are human. This may take a few seconds.

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RTE news : New UCC portrait series celebrates trailblazing women of Munster

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RTE news : New UCC portrait series celebrates trailblazing women of Munster

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A new portrait series honouring 11 influential women from Munster is set to become part of University College Cork's permanent art collection.

The portraits will be displayed in the university's historic Aula Maxima as part of the latest edition of Accenture's ongoing Women on Walls initiative.

The project marks a departure from earlier instalments by broadening its focus beyond academic and scientific achievement to include women who have made significant contributions to Irish society through literature, activism, health, education, and community work.

Most of the women portrayed are still living, and were nominated by the public through an open call led by UCC.

Enda O'Brien is one of the subjects of the new Women On walls series

Four artists - Vera Klute, Vanessa Jones, Gerry Davis, and Julianne Guinee - have been commissioned to create the works.

Guinee, a former teacher who turned to painting following personal loss, will paint a group portrait of eight women: Dr. Evelyn Grant, Dr. Naomi Masheti, Mary Crilly, Dola Twomey, Caitríona Twomey, Brigid Carmody, Dr. Myra Cullinane, and Dr. Patricia Sheahan.

Among the individual portraits, Gerry Davis will depict acclaimed author Edna O'Brien, while Vera Klute will paint sports journalist and disability rights advocate Joanne O'Riordan and Vanessa Jones' subject is educator and reformer Nano Nagle.

Louise O'Reilly, Chief Executive of Business to Arts, called the new chapter "a landmark commission," adding: "The artists chosen display deep creativity and care when considering their subjects, and it is a privilege to work with them to create works of portraiture that will shape the legacy of both these women and UCC's art collection."

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New UCC portrait series celebrates trailblazing women of Munster

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A new portrait series honouring 11 influential women from Munster is set to become part of University College Cork's permanent art collection.

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Rothko: Child damages painting worth up to €50m in Netherlands

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Rothko: Child damages painting worth up to €50m in Netherlands

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Rothko: Child damages painting worth up to €50m in Netherlands

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It is not yet clear who will be held responsible for the cost of repairing Rothko’s Grey, Orange on Maroon, No. 8.

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'It's a lifetime's work': Silversmith 'devastated' after thieves stole 'irreplaceable' jewellery

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'It's a lifetime's work': Silversmith 'devastated' after thieves stole 'irreplaceable' jewellery

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‘It’s a lifetime’s work’: Silversmith ‘devastated’ after thieves stole ‘irreplaceable’ jewellery

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Séamus Gill said decades of work had been taken when his Dublin studio was burgled over Easter weekend

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Jonathan Anderson'Wild, wonderful dream': Derry fashion designer on working with Rihanna for star's Super Bowl outfit'

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Jonathan Anderson'Wild, wonderful dream': Derry fashion designer on working with Rihanna for star's Super Bowl outfit'

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‘Wild, wonderful dream’: Derry fashion designer on working with Rihanna for star’s Super Bowl outfit

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Magherafelt native and fashion powerhouse Jonathan Anderson was the man behind her eye-catching outfit.

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Derry fashion designer Jonathan Anderson appointed artistic director of Dior menswear

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Derry fashion designer Jonathan Anderson appointed artistic director of Dior menswear

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Derry fashion designer Jonathan Anderson appointed artistic director of Dior menswear

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The move comes on the back of his decision to step down as the creative director of the luxury fashion house Loewe following an 11-year stint in the role.

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RTE news : Photo of amputee Palestinian boy wins World Press award

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RTE news : Photo of amputee Palestinian boy wins World Press award

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Verifying you are human. This may take a few seconds.

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RTE news : An Post seeking stamp ideas that 'represent Irish life'

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RTE news : An Post seeking stamp ideas that 'represent Irish life'

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Verifying you are human. This may take a few seconds.

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Project Sheela: International Women’s Day art trail highlights Ireland’s ‘open wounds

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Project Sheela: International Women’s Day art trail highlights Ireland’s ‘open wounds

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Project Sheela: International Women’s Day art trail highlights Ireland’s ‘open wounds’

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Anonymous sheela-na-gig artists will reveal a new series of plaques from today

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Spectacular sun sculpture to be displayed at Cork cathedral for Midsummer Festival 

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Spectacular sun sculpture to be displayed at Cork cathedral for Midsummer Festival 

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Luke Jerram's sculpture of the Earth was a major hit at Cork Midsummer Festival in 2022, and the British artist looks set to again draw crowds to his latest work at this year's event.

Helios is a spectacular six-metre representation of the Sun that will hang at St Fin Barre's Cathedral during the festival in June. Created to scale, each centimetre of the artwork represents 2,300km of the real Sun's surface, and features such details as sunspots and solar flares. Adding to the atmosphere will be a soundtrack of live NASA recordings of the sun.

Organisers say that, as well as providing an opportunity to enjoy an "awe-inspiring and immersive experience of the Sun's intense beauty and power", Helios also shows the Sun's vital role in shaping Earth's climate and sustaining life.

The artwork will be available to see each day from June 9-21, and on the summer solstice (June 21), Helios will open from dawn until dusk. Bookings begin at 10am on Monday, April 7, via the Cork Midsummer Festival website. Tickets cost €8 (€7 concession), and children accompanied by an adult are free.

British artist Luke Jerram with his Helios representation of the Sun which will feature at Cork Midsummer Festival. Picture: Bec Hughes

The Sun project will be Bristol artist Jerram's fourth contribution to the Cork event, with previous work including Museum of the Moon at CIT in 2016, and the Gaia representation of the Earth at St Colman's Cathedral, Cobh.

Lorraine Maye, director of Cork Midsummer Festival, urged people to book early to see Jerram's latest work. "'We're thrilled to be hosting another major Irish premiere of Luke's extraordinary artworks, this time at the stunning St Fin Barre's Cathedral. Thousands of people of all ages have queued in all weathers to encounter his giant creations at previous festivals," added Maye.

The Dean of Cork the Very Rev Nigel Dunne, said the installation was in keeping with some of the Book of Genesis themes represented in a section of the cathedral's stained glass windows. "Helios reflects the message of our great Creation window and we are delighted to be collaborating with Cork Midsummer Festival to showcase this major attraction in St Fin Barre's Cathedral," said Rev Dunne.

Cork Midsummer Festival runs June 13-22. For information and tickets, see

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Spectacular sun sculpture to be displayed at Cork cathedral for Midsummer Festival

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Luke Jerram previously thrilled Cork audiences with his representation of the Earth at St Colman's Cathedral in Cobh

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Cork Marvel Comics artist starting cute new animated series with RTÉ debut

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Cork Marvel Comics artist starting cute new animated series with RTÉ debut

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https://www.corkbeo.ie/culture/whats-on-news/watch-cork-marvel-comics-artist-31255169

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Cork Marvel Comics artist starting cute new animated series with RTÉ debut

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You can get a behind-the-scenes look at the project on Nationwide tonight

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A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠⁠The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠

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A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠⁠The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠

# data[].attributes.wish_content.attachment_props.text
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght https://t.co/8oNKTMHn50

# data[].attributes.wish_content.attachment_props.original_text
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght https://t.co/8oNKTMHn50

# data[].attributes.attachment_link.embed_code
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght pic.twitter.com/8oNKTMHn50
— Lovin Dublin (@LovinDublin) March 11, 2025

# data[].attributes.attachment_link.metadata.attachment_props_source.data.text
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght https://t.co/8oNKTMHn50

# data[].attributes.attachment_link.metadata.attachment_props.original_text
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght https://t.co/8oNKTMHn50

# data[].attributes.attachment_link.metadata.attachment_props.text
A stunning mural of Rhasidat Adeleke has been unveiled in The Square, Tallaght. ⁠
⁠
The mural was created by artist @achesdub, and celebrates the record breaking athlete who hails from Tallaght ⁠
⁠
📷 @thesqtallaght https://t.co/8oNKTMHn50

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RTE news : Special stamps launched to celebrate women in STEM

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RTE news : Special stamps launched to celebrate women in STEM

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Verifying you are human. This may take a few seconds.

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RTE news : Mural honouring Nell McCafferty to be unveiled in Derry

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RTE news : Mural honouring Nell McCafferty to be unveiled in Derry

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Verifying you are human. This may take a few seconds.

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RTE news : Banksy work owned by Blink-182 star to fetch up to €6m

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RTE news : Banksy work owned by Blink-182 star to fetch up to €6m

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Verifying you are human. This may take a few seconds.

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Tommy Tiernan Show viewers praise 'inspiring' and 'incredible' young artist

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Tommy Tiernan Show viewers praise 'inspiring' and 'incredible' young artist

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Tommy Tiernan Show viewers praise ‘inspiring’ and ‘incredible’ young artist

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Aaron Sunderland Carey, a mixed media artist involved in ‘socially engaged projects’ chatted with Tommy Tiernan on RTÉ

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A Pulitzer winner quits ‘Washington Post’ after a cartoon on Bezos is killed

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A Pulitzer winner quits ‘Washington Post’ after a cartoon on Bezos is killed

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A Pulitzer winner quits ‘Washington Post’ after a cartoon on Bezos is killed

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Washington Post cartoonist Ann Telnaes resigned after an editor rejected her sketch satirizing tech chiefs, including the Post’s owner and Amazon founder Jeff Bezos.

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 Orla & Sparkey Kelly in the New Home by Blaise Smith

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 Orla & Sparkey Kelly in the New Home by Blaise Smith

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What Lies Beneath: Orla & Sparkey Kelly in the New Home by Blaise Smith

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Blaise Smith, from Rathmines “painted myself into a corner at school, was more or less expelled for constantly drawing”. He never sat the Leaving Cert. At 17, Smith won “the overall prize in the Texaco”, and prize money paid for his first year NCAD fees. Thrown out, 10 lost years followed: he got “really nerdy about computers, worked in multimedia systems and interface design”. Computers are brilliant but Smith believes that a painting is “a wonderful piece of information technology. You hang it on the wall, it gives back information for several hundred years and it works perfectly EVERY DAY. Show me another piece of IT that will do that...”

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Watch: Cork's famous Canova sculptures are wrapped up for a deep sleep

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Watch: Cork's famous Canova sculptures are wrapped up for a deep sleep

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https://www.corkbeo.ie/news/local-news/watch-corks-famous-canova-sculptures-30559829

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Watch: Cork’s famous Canova sculptures are wrapped up for a deep sleep

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'A prayer come true' - Cork man launches new gallery to showcase local artists 

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'A prayer come true' - Cork man launches new gallery to showcase local artists 

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(Image: Gerard Sexton)

It can be hard for artists to find a place for their work - but now Gerard Sexton has opened a gallery in Douglas Village Shopping Centre so that the public can enjoy the output of talented Rebel artists.
Gerard studied at the Crawford College of Art and Design in Cork city, where he "fell in love with painting." Later he earned himself a Masters degree and honed his craft - and now he's finally been able to launch an art gallery of his own. The Market Gallery had its opening night earlier this week - and the current exhibition runs until mid-January.

Gerard told CorkBeo that while he loves painting on his own, he's at his strongest as part of a community: "With Market Gallery, I can facilitate that community and offer artists the same opportunities that I fought so hard to achieve in my early days of practice. Market Gallery is very much a prayer come true for me."

The official opening took place on Thursday with the launch of an exhibition titled Sensing Place . The exhibition features six local artists: Catherine Duggan, John Corkery, Sinead Barrett, Rosie O'Regan, Tom Herdman, and Keith O'Brien - and it was opened by local artist Ēadaoin Glynn.

Gerard explained that Market Gallery is a place for art to be "readily available" to the public: "We'll be showcasing established artists but we're also looking to feature new up-and-coming artists, with the aim to host a vibrant creative community in Douglas Village."

Gerard says that Cork has a great art scene - but that it can always do with more: "Cork is blessed with some fantastic galleries and venues for visual art. We have the Lavitt Gallery, St Peter's, the Glucksman, and Laneway Gallery just to name a few.

"But the overwhelming consensus is that there is a heartfelt demand for more. More space for artists to exhibit, more opportunities for local artists and more scope to make the work of these artists available to the public. With a healthy community of galleries and venues the art scene in Cork can continue to expand and thrive. This is the kind of ecosystem that Market Gallery hopes to be a part of."

Market Gallery at the Douglas Village Shopping Centre is just a 10-minute drive from Cork city centre - which is very handy for Leeside art lovers as the Crawford Art Gallery will be closed for the next three years while it undergoes a major revamp. Earlier this week the Crawford's famous Canova sculptures were boxed up for the first time in 140 years.

The launch of the new gallery follows the recent opening of a brand new theatre and arts space in Macroom, where the Briery Gap Cultural Centre opened in September with a 215-seat theatre space, library and a bar.

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'A prayer come true' - Cork man launches new gallery to showcase local artists

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Gerard Sexton has opened the new Market Gallery in Douglas

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Those Boots are made for, well not the wall of the @kinoeventshouse after all. The mural for Boots was painted over today. 👀

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Those Boots are made for, well not the wall of the @kinoeventshouse after all. The mural for Boots was painted over today. 👀

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Tripe + Drisheen on Instagram: "Those Boots are made for, well not the wall of the @kinoeventshouse after all. The mural for Boots was painted over today. 👀👀 Were words had????? What's to come??????"

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18 likes, 0 comments - tripeanddrisheen on December 8, 2024: "Those Boots are made for, well not the wall of the @kinoeventshouse after all. The mural for Boots was painted over today. 👀👀 Were words had????? What's to come??????". 

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Dry stone wall construction added to UNESCO list of protected cultural heritages

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Dry stone wall construction added to UNESCO list of protected cultural heritages

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All female reboot for Raphael's famous fresco

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All female reboot for Raphael's famous fresco

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A full-scale re-enactment of one of the most famous artworks of the Italian Renaissance has been launched in Dublin - with a striking twist.

Artist collective Na Cailleacha collaborated with staff and students from Trinity College Dublin to produce a contemporary version of Raphael's School of Athens painting.

Dating from the 16th century, The School of Athens, located in the Vatican, depicts a congregation of 50 classical philosophers, mathematicians, and scientists.

All men.

Raphael's 16th century masterpiece 'The School of Athens' depicts a congregation of 50 male philosophers, mathematicians, and scientists.

The new image, entitled The School of Hibernia, features an all-women cast.

"We almost couldn't get anything that's more the pinnacle of the canon of art history than this," explained Catherine Marshall from Na Cailleacha.

"The original painting was set in classical, ancient Greece, with 50 men in it, including Plato, Aristotle, Pythagoras, people like that.

"And we just thought the thing that's incredibly missing is women."

'The School of Hibernia' (courtesy Na Cailleacha)

Last month's re-enactment in Trinity's Museum Building brought together women from a variety of backgrounds including the first female Irish president, Mary Robinson; the first woman president of the Royal Irish Academy, Mary E Daly; the first female Provost of Trinity, Linda Doyle; writer Melatu Uche Okorie; poet Eiléan Ní Chuilleanáin; and thought leaders Sinéad Burke, Saoirse Exton and Sindy Joyce.

Ms Burke, the CEO of accessibility consultancy Tilting the Lens, said: "If we look around these hallowed halls today, what's amazing to see is a whole different population and cohort of people.

"Yes, they are women. But they're also women from other backgrounds and communities.

"Whether that is disabled women, queer women, trans women, women of colour, and of different religious backgrounds.

"I think it's both an acknowledgement of the changing in society, the changing in education, but fundamentally the changing of Ireland."

History of art and drama students from Trinity assisted in the staging and production, which was captured by photographer Ros Kavanagh.

Dr Rachel Moss from Trinity's Department of History of Art and Architecture said:

"It has been an amazing opportunity for our students to be involved in a project that celebrates living female thought leaders, when historically so much of art has focused on male subjects. It is wonderful for our drama and art history students to be making history rather than simply studying it."

The participants in the School of Hibernia were selected by Na Cailleacha.

One of the founding members of Na Cailleacha who took part in The School of Hibernia, artist Helen Comerford, passed away last month.

A statement on the collective's website described her as a "wonderful colleague, (whose) worth in the art world is widely known."

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Watch: All female reboot for Raphael's famous fresco

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A full-scale re-enactment of one of the most famous artworks of the Italian Renaissance has been launched in Dublin - with a striking twist.

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120 metres high and 3 metres in diameter at the base, the tapering monument rises above O’Connell Street, breaking above the roof line with as slender and elegant a movement as is technically possible. Its structure and surfaces respond to the character and climate of the Irish landscape.

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Ian Ritchie Architects won the international competition for a monument in the centre of Dublin. The monument was the flagship project of a wider improvement of the centre of Ireland's capital city and replaced Nelson's Pillar, destroyed by terrorists in 1966.

Creating a national monument involved many interested parties, and construction of what is the world's tallest sculpture was delayed until 2000 because of legal challenges by two other competitors.

The Spire was inspired by the ever-changing light and composition of the Irish skies.

Ian Ritchie Architects' practice demonstrates a fascination with light, and in particular the idea of the presence and absence of light, in the way light materialises and dematerialises matter and object, and the way light appears and disappears - its fugitive qualities.

The form continues the tradition of standing stones and obelisks. 120 metres high and 3 metres in diameter at the base, the tapering monument rises above O'Connell Street, breaking the roof line with as slender and elegant a movement as is technically possible. During the day its shot-peened surfaces softly reflect the sky and it sways gently in response to the wind. From dusk, the base is gently lit and the tip illuminated to provide a beacon in the night sky over Dublin.

The mirror polished pattern on the lowest 10 metres around the Spire's base was derived from studies of the rock strata beneath the site, overlaid with the double helix of DNA.

The Spire slips through a cast-bronze disc flush with the surrounding paving without touching it, allowing the public to stand close and touch the Spire's surface. The disc incorporates a logarithmic, varying depth spiral profile that follows the original theme of a spire: the past expanding through time into the future. As the base acquires a patina from the Irish climate and the golden polish of human contact, the historical role of bronze in the development of Irish art is carried into the future.

The Spire was completed in 2003 in celebration of Ireland's confident future in the third millennium.

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120 metres high and 3 metres in diameter at the base, the tapering monument rises above O'Connell Street, breaking above the roof line with as slender and elegant a movement as is technically possible. Its structure and surfaces respond to the character and climate of the Irish landscape.

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Lady Gaga shares a laugh with ‘genius’ Philip Treacy

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Lady Gaga shares a laugh with ‘genius’ Philip Treacy

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Lady Gaga shares a laugh with ‘genius’ Philip Treacy

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Style icon and pop queen Lady Gaga has described Irish hat designer Philip Treacy as a “genius”.

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A day in the life of Jeweller Stephen Webster

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A day in the life of Jeweller Stephen Webster

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@stephenwebsterjewellery
#stephenwebster #jeweller #diamonds
♬ original sound - Stephen Webster Jewellery

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Goddess Clíodhna, by Northern Ireland-based artist Friz, at St. Finbarr’s Road, Cork.

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Goddess Clíodhna, by Northern Ireland-based artist Friz, at St. Finbarr’s Road, Cork.

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Goddess Clíodhna, by Northern Ireland-based artist Friz, at St. Finbarr’s Road, Cork.

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Pat McDonnell Paints recognise the importance of supporting the communities within which it trades and are honoured to have been asked to support this initiative through the sponsorship of the paint used to create these beautiful works of art on the streets of Cork city.

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AI artwork of Alan Turing sells for record $1.3m at auction

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AI artwork of Alan Turing sells for record $1.3m at auction

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AI artwork of Alan Turing sells for record $1.3m at auction

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Sotherby’s says the Ai-Da Robot work “marks a moment in the history of modern and contemporary art”.

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These biographies are excerpted from Art and Architecture of Ireland Volume III: Sculpture 1600-2000, edited by Andrew Carpenter and Paula Murphy and published by the Royal Irish Academy.

KELLY, OISÍN (Austin Ernest Kelly) (1915-81).
By Brian Fallon
Kelly was born in Dublin on 17 May 1915, the son of a schoolteacher. He acquired the name Oisín, apparently, through a misprint dating to his schooldays and chose to retain it. Oisín Kelly was undoubtedly the best-loved Irish sculptor of his era, working in a directly accessible style without descending into either academicism or neo-Celtic pastiche, and mastering thoroughly a wide range of techniques and materials.

Always craftsmanlike and unpretentious, his work as a whole is marked by a very personal humour and sensitivity, sometimes allied to a strong folkish strain. Sheer versatility is another characteristic. Although he is usually associated with the gifted generation that gave the IELA its character, he can be viewed as essentially a middle-of-the-roader who was equally acceptable to the RHA, of which he became a full member in 1965. Kelly might even be called an eclectic, but in the more positive sense. He drew on varied sources, including old Irish carvings, and greatly admired the works of the early twentieth-century German master Ernst Barlach, but the personality behind this rather hybrid mixture remained consistent and always recognizable. Much respected by his contemporaries, he also influenced younger sculptors such as John Behan and Edward Delaney (qqv).

Kelly was equally effective as a public sculptor and a private one, and several of his works, notably the monument to Jim Larkin ('Big Jim') in Dublin's O'Connell Street, have become landmarks for the ordinary citizen, just as the statues of Burke, Goldsmith and Grattan in College Green had already been for generations. At a time when Irish sculpture was at a rather low ebb, after the great generation of John Hughes, Oliver Sheppard, Andrew O'Connor and Jerome Connor, and when F.E. McWilliam (qqv) had thrown in his lot with the English Surrealists, Kelly steadily, but modestly, upheld standards at home over several decades. He had, in any case, few Irish contemporaries of real calibre - Melanie le Brocquy, after a promising start, did not exhibit again for many years, while the reputation of Hilary Heron (qv) appears to have shrunk with

the passing decades. It was not until the emergence of Gerda Frömel (qv) that the bar was raised again, but this time for a younger generation.

Kelly was educated at Mountjoy School and TCD, where he studied French and Irish - he was a proficient linguist, with innate academic abilities - and on graduating he became a schoolteacher, like his father. He also attended night classes at the NCA (later NCAD). In 1937 he won a travelling scholarship to Germany, where Nazism was already in power, but Kelly's chief interest was not in politics. On his return to Ireland he taught at a number of schools, including Bishop Foy School in Waterford, where he also attended woodcarving classes in the local School of Art under the much-respected principal Robert Burke - remembered by many as an inspirational teacher. Discovering an inborn flair for carving, Kelly created his first mature works in the mid-1940s, including Ceili Dancers - a theme to which he often returned.

In 1946 Kelly joined the staff of St Columba's College in Rathfarnham, Dublin, where he remained for nearly twenty years, teaching a generation of Irish schoolboys firstly French, later Irish, and finally art, taking a period of leave to attend classes under Henry Moore in London. It was not a time when artists - particularly sculptors - could make a living by their art alone, and the NCA was still too hidebound to admit even Kelly's mild version of Modernism to its students. By this stage he was married - to Ruth Gwynn, the daughter of a TCD provost - and had a growing family. They lived in a large rural house at Firhouse, close to Rathfarnham, and Kelly had his studio-workshop in one of the outbuildings. He sold his first works at this time, and exhibited at the Oireachtas exhibition among other outlets. A neighbour was the stained-glass artist Evie Hone, with whom Kelly developed a close friendship.

Kelly was soon a regular figure in both the IELA and the RHA summer shows. Though wood was probably his favourite medium, he also worked at various times in stone, bronze, copper, and even in cement. Dublin then had few private galleries, and even fewer which sold modern art; Irish sculpture in general was conservative and academic, and dealers or gallery-owners were reluctant to risk exhibitions of it, because they considered it too difficult to sell. Kelly, in any case, rather shrank from solo exhibitions, preferring to show his work in small numbers or even singly. He never had a one-man exhibition until the large-scale retrospective of his work, which took place in 1978, by which time he had only a few years to live.

Although his family background was Protestant, at a time when religious divides in Irish society, both South and North, were strongly marked, he readily accepted commissions from the Catholic clergy, beginning in 1949 with Our Lady of Fatima for the Church of Our Lady of the Rosary in Limerick. Other commissions included a copper crucifix for the Church of the Redeemer, Dundalk; St Brigid, Church of St Brigid in the Curragh Camp; St Peter, Church of St Peter, Milford, Co. Donegal; St Christopher for the church at Dublin Airport; the Last Supper (teak), Church of Corpus Christi at Knockanure, Co. Kerry [167]; St Patrick for St Patrick's Church near Lifford, Co. Donegal. And for the newly built St Theresa's Church at Sion Mills, Co. Tyrone, Kelly engraved a version of the Last Supper on a massive piece of slate measuring 4 by 14 metres, which was installed over the main entrance door.

Oisín Kelly, Last Supper, 1962, teak, Church of Corpus Christi, Knockanure, Co. Kerry. © Estate of Oisin Kelly.

During all this activity Kelly continued to produce bronzes and woodcarvings for private buyers and to participate in group exhibitions. Animals (principally cattle and horses), fish and birds were among his chosen themes, often shown in motion; he won the Oireachtas Gold Prize in 1969 for a piece called Faoileán (Seagulls) and there is a fine bronze Tern from 1975. However, he also created standing or dancing figures ( Dancing Sailor, 1956, in wood, is one of his best-loved pieces), as well as several depictions of sportsmen, and he was an able portrait sculptor. Kelly modelled heads of the poet Austin Clarke and the Celtic scholar David Greene, among others, and there is a ceramic head of Dr C.S. ("Tod") Andrews in the NGI. In 1951 he was elected a committee member of the IELA. Throughout his career, he seems to have been regarded as a man who was conscientious and with high standards, but also easy to work with.

The later decades of Kelly's life were largely dominated by a succession of public commissions: The Children of Lir (1966- 71) for Dublin; Two Working Men, 1969 [168], originally intended for Dublin but moved instead to Cork; a statue of Sir Roger Casement (1971) for Ballyheigue, Co. Kerry, overlooking Banna Strand; a giant grasshopper in metal (1972) for St Mary's Girls' Primary School at Strabane, Co. Tyrone; the statue of Jim Larkin (1977) for Dublin, and finally, Chariot of Fire (Irish Life Centre, Dublin) which was not unveiled until 1982, one year after the sculptor's death. Kelly left unfinished a statue of the harpist-composer Turlough Carolan, for Mohill, Co. Leitrim, which was subsequently completed and unveiled in 1986. With the exception of the grasshopper, all these works are in bronze. The final location of the Casement statue was much fought over, and the unveiling did not take place until some years after Kelly's death.

Oisín Kelly, Two Working Men, 1969, bronze, County Hal. © Cork Ann Lane and Wordwell Books.

The Children of Lir was a state commission for the Garden of Remembrance, which was created by the architect Dáithí Hanly (1917-2003) in Parnell Square (directly overlooked by the HL, from whose windows it is best seen). Surviving correspondence of the artist shows that he was eager to create an appropriate symbol of Irish nationhood, with the swans surmounting the figures apparently intended as an image of soaring aspiration. The work was cast in Florence, in sections, and when finally erected it stood nearly eight metres high and weighed eleven tons; it was unveiled in July 1971. While undoubtedly a landmark in Irish public sculpture, it has divided critical opinion then and since - an artistic triumph, or a high-reaching failure? A tentative verdict might be that the parts are more convincing than the whole, that quasi-symbolic themes were not Kelly's forte, and that he was perhaps working against the grain in opting for a complex, neo-Baroque composition - particularly on such a scale. The maquettes, to some people's eyes, seem more successful than the final product.

By comparison, the lifesize Two Working Men, originally intended to stand opposite Liberty Hall but planning permission was refused, seems to show that Kelly was happier when working with single, relatively straightforward figures. The figures are not joined, even compositionally, but stand independently of each other, looking upwards (Liberty Hall being a multi-storey building). When permission to install them in Dublin fell through, they were snapped up for Cork, where they are positioned in a small public park directly facing the County Hall. The Jim Larkin statue is possibly Kelly's masterpiece, at least as a public sculpture, and with its powerful presence, its erect, fearless stance and uplifted arms, it appealed straightaway to the sensibility of the average Dubliner - and to many art connoisseurs as well. It might be said that it possesses dignity without inflation, and emotional force without rhetoric. The statue stands a little over three-and-a-half metres high and was cast by the Dublin Art Foundry.

Kelly's final large-scale sculpture was the ambitious Chariot of Fire for the plaza of the Irish Life Centre, not far from the Larkin statue. Probably his most elaborate project, it was cast in sections, over a period of two years, by the Dublin Art Foundry. Weighing roughly seven tons, it was incomplete when the artist died. Again, opinions are divided over the outcome and on the suitability of such a subject for a sculptor who, though not short of imagination or invention, seemed more comfortable expressing himself through a largely realist vocabulary. While Kelly was by temperament a visual poet, he was not naturally a rhetorician.

Kelly had ceased to teach at St Columba's in favour of becoming a part-time artist-in-residence at the Kilkenny Design Workshops, where he worked for two days a week, commuting to and from Dublin by train. In this capacity, he designed a variety of objects, ranging from silver statuettes to metal candleholders. It was in these workshops that he died suddenly on 12 October 1981 - perhaps weakened by the cumulative strain of his public commissions, but also saddened by the death of his supportive wife.

Oisín Kelly received many prizes, awards and marks of distinction over his career, including membership of the board of the NCAD and the RHA professorship of sculpture, an honorific post; he was also included in various group exhibitions, including The Irish Imagination which formed part of ROSC '71. Church works and major commissions apart, he is represented in numerous public and private collections. His personal charm, modesty and natural courtesy made him a much-loved figure among his contemporaries. He united a scholar's brain with a capacity for hard, exacting craftsmanship and was always a welcome presence on art juries and committees.
SELECTED READING The Work of Oisín Kelly, exh. cat. Arts Councils North and South, essay by Dorothy Walker, Dublin, 1978; Fergus Kelly, 'The Life and Work of Oisín Kelly', GPA IAR Handbook, 1989/90, 35-38; Hill, 1998; Snoddy; Paula Murphy, 'Let Us Rise', IAR, 30, 4 (November 2013-February 2014), 114-117.

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These biographies are excerpted from Art and Architecture of Ireland Volume III: Sculpture 1600-2000, edited by Andrew Carpenter and Paula Murphy and published by the Royal Irish Academy. By Brian Fallon Kelly was born in Dublin on 17 May 1915, the son of a schoolteacher.

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Stunning kingfisher mural unveiled in Cork city

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Stunning kingfisher mural unveiled in Cork city

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Stunning kingfisher mural unveiled in Cork city

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A stunning new mural with a conservation theme has been unveiled on the quayside in Cork city as part of a new city placemaking initiative.

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Ties between comics and medicine explored in Co Westmeath

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Ties between comics and medicine explored in Co Westmeath

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Pop-up art gallery coming to prominent Patrick StreetPop-up art gallery coming to prominent Patrick Street location

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Pop-up art gallery coming to prominent Patrick StreetPop-up art gallery coming to prominent Patrick Street location

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Pop-up art gallery coming to prominent Patrick Street location

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Shane MacGowan mural ‘everything we could have hoped for’, says singer’s sister

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Shane MacGowan mural ‘everything we could have hoped for’, says singer’s sister

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Shane MacGowan mural ‘everything we could have hoped for’, says singer’s sister

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Hundreds turned out for the unveiling ceremony in Nenagh

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Activists target Picasso work to protest Israel arms sales

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Activists target Picasso work to protest Israel arms sales

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Activists target Picasso work to protest Israel arms sales

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Activists on Wednesday briefly pasted a photo of a bloodied mother and child in Gaza over a Picasso painting at a London gallery, calling for an arms embargo on Israel.

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‘A beautiful gesture’ – stamps unveiled in honour of Sinéad O’Connor, Shane MacGowan, Christy Dignam and Séamus Begley | Irish Independent

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‘A beautiful gesture’ – stamps unveiled in honour of Sinéad O’Connor, Shane MacGowan, Christy Dignam and Séamus Begley | Irish Independent

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The stamps, featuring images of Sinéad O'Connor, Shane MacGowan, Christy Dignam and Séamus Begley, will be available from Thursday.

All four of the musicians died in 2023. The stamps were presented at a private unveiling for the musicians' families.

O'Connor's former husband John Reynolds, speaking on behalf of the family, said it was a "great honour" for Sinéad to be included in the stamp set and for Ireland to remember her "in such a dignified way while we all still mourn her loss and the loss of her fellow musical greats".

The series of stamps, entitled Iconic Irish Voices, marks their passing and their contributions to Irish life and music.

MacGowan's wife Victoria Mary Clarke said: "Shane would be exceptionally proud and delighted to be honoured with a stamp from An Post.

"He was a passionate Irish man with a huge love for Ireland and its history and culture and he was very interested in the stamps and often spoke about how much he loved them.

"He saw the Irish postage stamps as symbolic of our freedom from Britain and our status as an independent republic, the fact that we could issue our own stamps without the head of the British monarch was very important to him. His family are all very grateful to An Post for this beautiful gesture."

Featuring simple black-and-white portraits, the stamps were designed by Shaughn McGrath Creative. The portraits highlight each artist's eyes looking back at us and their hands, which they used to write and perform their music.

McGrath aimed to capture the four musicians' "humanity, strength and humility".

Dignam's daughter Kiera said: "Our family are deeply touched to have my dad honoured in such a beautiful way by An Post. Knowing his humour, to be on a stamp is definitely something he would giggle about, it's like he's Irish royalty."

Begley's family said: "This stamp is a wonderful recognition of the impact that Séamus had on people and we as a family are very proud and very grateful to An Post for this honour."

CEO of An Post David McRedmond said: "It's still hard to accept that Christy, Seamus, Sinead and Shane are no longer with us. Each of them shone brightly and bravely throughout their lives, bringing good times, inspiration and joy to millions upon millions of people. They were proud Irish artists whose work explored, often critically, our identity as a people.

"We are greatly honoured on behalf of the people of Ireland to release these special stamps as symbol of the nation's respect and pride in their musical genius and their impact on the world."

The new stamps will be celebrated on Culture Night on Friday, September 20, in a collaboration between An Post and Music Network Ireland at the GPO.

Four instrumental performances of world-famous songs will be held celebrating the works of O'Connor, MacGowan, Dignam and Begley.

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'A beautiful gesture' - stamps unveiled in honour of Sinéad O'Connor, Shane MacGowan, Christy Dignam and Séamus Begley

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Stamps honouring four of Ireland's greatest musicians have been unveiled by An Post.

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Stunning views from top of St. Fin Barre’s as crews tackle ’20 year

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Stunning views from top of St. Fin Barre’s as crews tackle ’20 year

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Stunning views from top of St. Fin Barre’s as crews tackle ’20 year’ repairs

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You wouldn’t want to be scared of heights

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Choctaw Nation unveils 'eternal' sculpture dedicated to IrelandUpdated / Saturday, 31 Aug 2024 13:32

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Choctaw Nation unveils 'eternal' sculpture dedicated to IrelandUpdated / Saturday, 31 Aug 2024 13:32

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Seven of the Paris Olympics’ most striking images – as classical artworks

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Seven of the Paris Olympics’ most striking images – as classical artworks

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Seven of the Paris Olympics’ most striking images – as classical artworks

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As the 2024 Paris Olympics draws to a close, the BBC rounds up some of the most stunning photos captured from the Games – and reveals their similarities to historic works of art.

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Three talented Cork artists shortlisted for AIB National Portrait competition

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Three talented Cork artists shortlisted for AIB National Portrait competition

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(Image: Joy Kavanagh - National Gallery)

Three Cork artists are battling it out to prove they've created 'Ireland's Best Portrait' in a major country-wide art competition.
The National Gallery of Ireland has revealed the shortlists for this year's AIB Portrait Prize and Young Portrait Prize contests. A total of 46 contestants have been whittled down from hundreds of entries across both events - and three Rebels have made the cut with stunning art pieces you can check out below.

The portraits entered are a mix of photography, paintings, sculpture and other types of artwork. In the larger AIB Portrait Prize comp, 26 entrants will be competing for a top prize of €15,000 and a €5,000 commissioned work, with two runners-up receiving €1,500 each.

Twenty artists between the ages of 3 and 18 are in the running for the youth category. Five winners will be gifted a bespoke art box and cash prize, while the overall champ will go home with a personalised art set and €500 cash. Everyone who made the shortlist will have their work professionally framed and prepared to commemorate the occasion.

READ MORE: Free talent show for Northside kids with €100 top prize up for grabs
READ MORE: Watch: Crane plucks Crawford sculpture like a wobbly tooth as gallery to close for 2 and a half years
The youngest of the three Cork artists is 14-year-old Avni Mittal - nominated for the Young Portrait Prize for her painting Inner Reflection. This piece features wonderfully intricate ring designs behind a profile portrait that calls to mind the famous Vermeer painting Girl with a Pearl Earring.

The other two Cork nominees are taking part in the main Portrait Prize contest. First up is David Creedon's photograph Miss Evans in her Sweetshop - a lovely landscape image of a woman at the counter of her pastel-coloured store that looks like something straight out of a Wes Anderson film.

Also up for the top prize is Joy Kavanagh and her painting Self-Subject; In Bloom. In this, she depicts herself in a blue-walled garden draped with drooping yellow flowers, and we must say it seems there's just a touch of Vincent Van Gogh about this one.

Director of the National Gallery of Ireland Dr Caroline Campbell said: "We are proud to be working with AIB on the annual AIB Portrait Prize and AIB Young Portrait Prize. With the two Prizes, we showcase the work of Irish portrait artists of all ages and encourage an interest in contemporary portraiture across the island of Ireland.

"The artists shortlisted for the 2024 prize demonstrate an incredible breadth of Irish artistic talent. We are looking forward to the opening of the exhibitions on the 9th of November and announcing this year's winners on the 27th November."

All the shortlisted works in both competitions will be on display in the National Gallery from November 9th 2024 to March 9th 2025, with the winners being announced in a ceremony on November 27th of this year. For more information visit www.nationalgallery.ie.

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Three talented Cork artists shortlisted for AIB National Portrait competition

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46 artists from across the country are competing for cash prizes

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London Zoo removes Banksy work for 'safekeeping'

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London Zoo removes Banksy work for 'safekeeping'

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The artwork was the final image in Banksy's surprise animal art trail across London

A Banksy artwork on the shutters of London Zoo has been removed for "safekeeping" and to allow the attraction to use its full entrance during the summer period.

The piece, which shows a gorilla lifting the shutter to release a sea lion and birds, has been replaced with a replica.

A sign nearby now reads "Banksy woz ere" and offers an apology to disappointed fans of the street artist.

It was the ninth Banksy to appear in as many days in London and follows images of a goat, elephants, monkeys, a wolf, pelicans, a cat, piranhas and a rhinoceros.

When the artwork appeared, London Zoo had said it was an "incredible surprise" and that it was "thrilled" the world-famous graffiti artist had chosen the venue.

The zoo had used a protective clear plastic cover to protect the artwork "from the glare of the sun" and put up a barrier around the mural.

However, on X on Saturday, the zoo announced its removal and said it was "working on" what to do with the artwork, "but we're keen to properly preserve this moment in our history".

Two of the other artworks in the series, including a silhouette of elephants in Chelsea's Edith Grove, have been defaced and another was stolen just hours after it was put up.

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Banksy: London Zoo removes gorilla artwork for 'safekeeping'

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A nearby sign at the zoo now reads "Banksy woz ere" and offers an apology to disappointed fans.

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RTE news : Banksy unveils seventh animal-themed work in London

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RTE news : Banksy unveils seventh animal-themed work in London

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RTE news : Banksy unveils stretching cat design in London

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RTE news : Banksy unveils stretching cat design in London

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Banksy has unveiled the sixth artwork in his new animal-themed collection in London, a silhouette of a stretching cat on an empty, distressed advertising hoarding.

The elusive street artist posted a photo of the design on Instagram on Saturday without any caption.

Located in Cricklewood, north west London, the design depicts a large cat with an upturned nail as it appears to stretch out its body.

The artist has revealed a new animal artwork each day this week, of a goat, elephants, monkeys, a wolf and pelicans.

On Friday there were pelicans pinching fish from a London chip shop sign in Walthamstow, east London, and a wolf howling on a satellite dish was announced on Thursday in Peckham, south London.

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Less than an hour after it was disclosed, the wolf design was removed by three men, according to a witness who told the PA news agency that he filmed them, which led to one of the men throwing his phone on a roof.

"It's a great shame we can't have nice things and it's a shame it couldn't have lasted more than an hour," he said.

A statement from the Metropolitan Police said: "We were called to reports of a stolen satellite dish containing artwork at 1.52pm on Thursday August 8 in Rye Lane, Peckham.

"There have been no arrests. Inquiries continue."

A spokesman for Banksy told the PA news agency that the artist is neither connected to nor endorses the theft, and that they have "no knowledge as to the dish's current whereabouts".

The first piece of graffiti in Banksy's new animal-themed series, which was announced on Monday, is near Kew Bridge in south-west London and shows a goat with rocks falling down below it, just above where a CCTV camera is pointed.

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On Tuesday the artist added silhouettes of two elephants with their trunks stretched towards each other on the side of a building near Chelsea, west London.

This was followed by three monkeys looking as though they were swinging underneath a bridge over Brick Lane, near a vintage clothing shop in the popular east London market street, not far from Shoreditch High Street.

The street artist, whose identity is unknown but widely speculated on, was recently criticised by then British home secretary James Cleverly, who said the artwork he created for Glastonbury Festival was "trivialising" small boat crossings and "vile".

The artist had said he was the person behind an inflatable boat filled with migrant dummies which had been crowdsurfed at the music festival in June, during performances by Bristol indie punk band Idles and rapper Little Simz.

Source: Press Association

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Banksy unveils stretching cat design in London

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Banksy has unveiled the sixth artwork in his new animal-themed collection in London, a silhouette of a stretching cat on an empty, distressed advertising hoarding.

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RTE news : "It was hideous": Sinéad's brother slams waxwork

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RTE news : "It was hideous": Sinéad's brother slams waxwork

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Irish museum solves mystery of bronze age axe heads delivered in porridge box

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Artefacts sent by farmer, who made the ‘absolutely mad’ discovery while cutting silage

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RTE news : Appeal for information on anonymously donated axeheads

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RTE news : Appeal for information on anonymously donated axeheads

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The National Museum of Ireland has issued an appeal after 4,000-year-old Early Bronze Age axeheads were sent anonymously to the museum at the end of June.

They were accompanied by a letter stating they were discovered in the Westmeath area using a metal detector.

The museum has dated the axeheads to around 2150-2000 BC.

The sender said they wished for the axeheads to be conserved by the Museum but did not provide any contact details or further specifics.

The museum said the axeheads were "thoughtfully packed in foam cut-outs and cardboard, ensuring their safe arrival."

It continued "Our experts at the NMI have identified these items as flat axeheads from the Early Bronze Age, a significant archaeological find that offers a glimpse into Ireland's distant past.

"However, to fully understand and appreciate these artefacts, it's crucial to know the exact location where they were found.

"The context of such discoveries helps archaeologists piece together ancient settlement patterns and cultural practices.

"For instance, hoards or collections of objects were often deliberately placed in specific locations for reasons that could range from ritualistic to supernatural.

"With this in mind, we are appealing to the person who sent these axeheads to reach out to us. Any information about their discovery will be treated with the utmost confidentiality and used solely to verify the find location and its circumstances."

It is against the law to search for archaeological objects in Ireland using a metal detector unless you have received written consent from the Government.

People can be fined up to €63,486 and get up to three months in jail if found to be in breach of the law.

The museum said it is currently participating in an international study of Bronze Age metalwork to trace the origins of the metals used in such artefacts.

It said details about the find spot of these axeheads could provide critical data for this research.

Matt Seaver, Assistant Keeper of Irish Antiquities at the NMI, shared his excitement: "We are thrilled about the discovery of these Early Bronze Age axeheads, but to truly understand their significance, we need to know where they were found."

He also reminded the public of the importance of reporting archaeological finds: "It is our legal duty to report the discovery of archaeological objects. The NMI's role is to preserve these treasures for everyone in the State, ensuring they are available for future generations. We rely on the public's support to achieve this."

"We also wish to remind everyone about the regulations surrounding the use of metal detectors for searching archaeological objects. Archaeological finds without a known owner are the property of the state and are preserved as part of our collective heritage in national and designated museums."

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Appeal for information on anonymously donated axeheads

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The National Museum of Ireland has issued an appeal after 4,000-year-old Early Bronze Age axeheads were sent anonymously to the museum at the end of June.

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Irish designer creates Taylor-made cardie for Swift

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 Irish designer creates Taylor-made cardie for Swift

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 Irish designer creates Taylor-made cardie for Swift

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Irish designer creates Taylor-made cardie for Swift

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Taylor Swift's grá for a traditional Irish geansaí has inspired an Irish designer - and confirmed Swiftie - to create a one-of-a-kind hand knitted cardigan which will be delivered to the pop star ahead of her gigs in Dublin this weekend.

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Banksy confirms migrant inflatable boat is his artwork

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Banksy confirms migrant inflatable boat is his artwork

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Banksy confirms migrant inflatable boat is his artwork

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Artist Banksy has confirmed that a small boat crossing artwork at Glastonbury belongs to him.

A small boat filled with migrant dummies in orange life jackets was hoisted into the crowd gathered to watch the band Idles play on the Other Stage at Worthy Farm on Friday night.

On Sunday, Banksy posted a video of the boat sailing through the crowd during the band's set to his Instagram page.

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The boat appeared while the Bristol rock band were performing Danny Nedelko, a 2018 release which begins with the lyrics: "My blood brother is an immigrant, a beautiful immigrant."

According to The Guardian, the band said the demonstration was devised by Bristol artist Banksy and they were not aware it had happened until after the set had finished.

Britain's Home Secretary James Cleverly and Deputy prime minister Oliver Dowden hit out at the stunt on X, formerly Twitter.

Small boats crossings are deadly and have cost the lives of too many people.

Festival goers cosplaying as migrants, and celebrating the actions of people smugglers, while they party is awful.

Whatever your political views, this isn't something we should trivialise. https://t.co/t54igK4b02
- James Cleverly🇬🇧 (@JamesCleverly) June 30, 2024

Mr Cleverly wrote: "Small boats crossings are deadly and have cost the lives of too many people.

"Festival-goers cosplaying as migrants, and celebrating the actions of people smugglers, while they party is awful.

"Whatever your political views, this isn't something we should trivialise."

The Glastonbury Live account also posted an image on Saturday of the artwork returning for Little Simz' Pyramid Stage slot.

Representatives of Banksy have been contacted for comment.

Source: Press Association

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Banksy confirms migrant inflatable boat is his artwork

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Artist Banksy has confirmed that a small boat crossing artwork at Glastonbury belongs to him.

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Harry Potter item sells at auction for $1.9 million

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Harry Potter item sells at auction for $1.9 million

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Harry Potter item sells at auction for $1.9 million

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A watercolour drawing for Harry Potter And The Philosopher's Stone has fetched a record amount at auction.

The artwork for the cover of the first book in the series, by JK Rowling, fetched 1.9 million US dollars (€1.7 million) at a sale by Sotheby's auction house in New York on Wednesday.

The dealer said it is "the most valuable Harry Potter item ever sold at auction".

A first edition copy of Harry Potter And The Philosopher's Stone was thought to be the highest price recorded for an item from the fantasy series.

It sold for 421,000 US dollars (€394,240) at Heritage Auctions in Dallas, in December 2021.

The new sale of the illustration, by Thomas Taylor, which featured on the debut edition of the novel in 1997 was involved in a four-way between bidders for nearly 10 minutes before selling for the record amount.

Watercolour illustration by Thomas Taylor sells for record amount at auction in New York

It had an estimate of 400,000-600,000 US dollars (€374,500-€561,800), which Sotheby's claims is the "highest pre-sale estimate ever placed on an item of any Harry Potter-related work".

The watercolour was first offered at auction in 2001 at Sotheby's London, when only the first four books in the series were published.

At the time, the depiction of the budding wizard, with his dark hair, round glasses and lightning bolt scar, on his way to Hogwarts on board the train, was estimated at £20,000 (€23,600) to £25,000 (€29,500) before being sold at £85,750 (€101,360).

Taylor, who went on to write the children's series Erie-On-Sea, had his first professional commission with Harry Potter at the age of 23.

Following being asked to illustrate the character by Barry Cunningham at Bloomsbury, Taylor took two days to complete the illustration.

He used concentrated watercolours on cold-pressed watercolour paper and outlined with black Karisma pencil.

Taylor was among the first to read the manuscript.

All bids include buyer's premium.

Source: Press Association

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Harry Potter item sells at auction for $1.9 million

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A watercolour drawing for Harry Potter And The Philosopher's Stone has fetched a record amount at auction.

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'Talking can help mend the cracks' - new Joe Caslin mural unveiled on city centre street for Dublin Samaritans

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'Talking can help mend the cracks' - new Joe Caslin mural unveiled on city centre street for Dublin Samaritans

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'Talking can help mend the cracks' - new Joe Caslin mural unveiled on city centre street for Dublin Samaritans

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Irish News

A new mural by renowned street artist Joe Caslin, crafted in collaboration with Dublin Samaritans, has been unveiled in Dublin city centre to help raise the profile of the charity's work in helping people facing psychological distress.

The artwork, completed over five days by Caslin, is inspired by Kintsugi, a Japanese tradition of repairing cracked ceramics with gold dust and lacquer, incorporating the seams as part of the refined artwork.

The mural, which is on display on Montague Lane off Camden Street, has an accompanying poem by Daragh Fleming.

The work "symbolises the celebration of imperfections and the belief that facing or overcoming struggles makes us more valuable and unique", according to the Samaritans.

Dublin Samaritans is aiming to highlight its 116 123 phone line, available 24/7, 365 days a year and how "talking can help mend the cracks".

The charity said the mural serves as a reminder "that each person's journey has the potential to be transformed into something beautiful".

Join the Irish Independent WhatsApp channel

Stay up to date with all the latest news

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'Talking can help mend the cracks' - new Joe Caslin mural unveiled on city centre street for Dublin Samaritans

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A new mural by renowned street artist Joe Caslin, crafted in collaboration with Dublin Samaritans, has been ­unveiled in Dublin city centre to help raise the profile of the charity's work in helping people facing psychological distress.

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Kim Sola on Instagram: "I’ve been grateful to collaborate with  @bolt_tbwadublin  to document @joecaslin creating this powerful mural for the @dublinsamaritans . Inspired by the Japanese art of kintsugi, this piece highlights the beauty and resilience in healing.

Swipe through for a glimpse into the behind-the-scenes process, where every brushstroke carries the vital message of mental health and suicide prevention. If you or someone you know is struggling, don’t hesitate to reach out to the Samaritans at 116 123.

Together, we can help mend the cracks and spread hope. 💚

Shot with @leicauk M2 on @ilfordphoto 400

#35mm #streetphotographersfdn #ilford #street_perfection #streetsgrammer #leicacamera #leicam #leica #leicam2 #leicafilmfriday #streetsofchrome #bnw_globe #leicafilmfriends #ireland #documentinglife #dublin #artist #londonstreet #paris #enjoyyourcity #everybodystreet #fstoppers #storyofthestreet #ig_street #suicideprevention #reflection #streetdreamsmag #everydayeverywhere #lensculture"

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Kim Sola on Instagram: "I’ve been grateful to collaborate with  @bolt_tbwadublin  to document @joecaslin creating this powerful mural for the @dublinsamaritans . Inspired by the Japanese art of kintsugi, this piece highlights the beauty and resilience in healing.

Swipe through for a glimpse into the behind-the-scenes process, where every brushstroke carries the vital message of mental health and suicide prevention. If you or someone you know is struggling, don’t hesitate to reach out to the Samaritans at 116 123.

Together, we can help mend the cracks and spread hope. 💚

Shot with @leicauk M2 on @ilfordphoto 400

#35mm #streetphotographersfdn #ilford #street_perfection #streetsgrammer #leicacamera #leicam #leica #leicam2 #leicafilmfriday #streetsofchrome #bnw_globe #leicafilmfriends #ireland #documentinglife #dublin #artist #londonstreet #paris #enjoyyourcity #everybodystreet #fstoppers #storyofthestreet #ig_street #suicideprevention #reflection #streetdreamsmag #everydayeverywhere #lensculture"

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176 likes, 6 comments - kim_sola on May 10, 2024: "I’ve been grateful to collaborate with  @bolt_tbwadublin  to document @joecaslin creating this powerful mural for the @dublinsamaritans...". 

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View this post on Instagram

A post shared by Kim Sola (@kim_sola)

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Giant Homes Causeway Coast on Instagram: "A towering new piece of work by acclaimed artist @joecaslin has taken over Downhill House, the iconic National Trust property on the Causeway Coast. 

The installation launched today on the 17th of May - it is to celebrate a new generation of peace here in Northern Ireland and is a testament to the power of art to lift up voices and to amplify.

Check out Giant Homes for special homes to call your own for your time on the Causeway Coast. Follow - @gianthomes.co.uk 📸

#art #mussenden #coleraine"

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Giant Homes Causeway Coast on Instagram: "A towering new piece of work by acclaimed artist @joecaslin has taken over Downhill House, the iconic National Trust property on the Causeway Coast. 

The installation launched today on the 17th of May - it is to celebrate a new generation of peace here in Northern Ireland and is a testament to the power of art to lift up voices and to amplify.

Check out Giant Homes for special homes to call your own for your time on the Causeway Coast. Follow - @gianthomes.co.uk 📸

#art #mussenden #coleraine"

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2,298 likes, 84 comments - gianthomes.co.uk on May 17, 2024: "A towering new piece of work by acclaimed artist @joecaslin has taken over Downhill House, the iconic National Trust property on the Caus...". 

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View this post on Instagram

A post shared by Giant Homes Causeway Coast (@gianthomes.co.uk)

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'Portal' linking NYC and Dublin restarts with set hours

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'Portal' linking NYC and Dublin restarts with set hours

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'Portal' linking NYC and Dublin restarts with set hours

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The 'portal' connecting Dublin and New York City has restarted this afternoon after it was paused earlier this week, but it will now only be operational during certain hours.

The two portals form part of a public art project aiming to unite citizens via technology on either side of the Atlantic Ocean.

The sculpture allows for real-time interaction between Dubliners, New Yorkers and visitors to both cities.

Dublin's portal faces on to O'Connell Street capturing both the GPO and the Spire.

The NYC portal is located on the Flatiron South Public Plaza at Broadway, Fifth Avenue, and 23rd Street, one of the Big Apple's most dynamic intersections.

A series of incidents involving "inappropriate behaviour" prompted a suspension of the live stream.

The live stream will have specific hours of operation for the coming weeks, with the livestream running daily from 6am to 4pm in New York City and 11am to 9pm in Dublin.

In a statement, Dublin City Council said that the attraction as amassed tens of thousands of visitors and garnered nearly two billion online impression in its few days of operation.

"The overwhelming majority of people who have visited the Portal sculptures have experienced the sense of joy and connectedness that these works of public art invite people to have," the statement said.

It added that the sculptures are not meant to be touched or stepped upon.

"We have taken steps to limit instances of people stepping on the Portal and holding phones up to the camera lens," the statement added.

"The Portals.org team has implemented a proximity-based solution. Now, if individuals step on the Portal and obstruct the camera, it will trigger a blurring of the livestream for everyone on both sides of the Atlantic.

"The team will continue making updates as needed to ensure that everyone can continue to enjoy the Portal."

Last week, the artist behind the art installation appealed to visitors to remember there could be children watching on the other side.

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'Portal' linking NYC and Dublin restarts with set hours

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The 'portal' connecting Dublin and New York City has restarted this afternoon after it was paused earlier this week, but it will now only be operational during certain hours.

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Dublin.ie talks to Mark Haybyrne of Jam Art Factory about his family business and the future of Irish art and design. Since 2011 brothers Mark and John Haybyrne have been showcasing the best of contemporary Irish art and design in their store, Jam Art Factory.

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'There should be limits' - Artist behind 'portal' appeals for people to behave

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'There should be limits' - Artist behind 'portal' appeals for people to behave

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Dublin-NYC 'portal' artist appeals for people to behave

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The artist behind the portal art installation connecting Dublin and New York has appealed to visitors to remember there could be children watching on the other side.

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A group of Irish artists and humanitarians have projected a "beam of love" on the Cliffs of Moher to show solidarity with the people of Gaza following recent conflict.

Tensions between Israel and Gaza peaked last month, resulting in increased violence and hundreds of Palestinian deaths.

A temporary ceasefire has since been called, with talks ongoing to make the ceasefire permanent.

The image projected in Ireland, which featured the word Gaza and a loveheart, was created as a symbol of both grief and empathy, particularly addressed to children in the territory, including those who were killed and those who survived the killing of the rest of their families.

The organisers, a group called From Ireland With Love, dedicated the projection to survivors of the recent 11-day aerial bombardment, in particular to six-year-old Suzy Ishkontana, 5-month-old Omar al-Hadidi and 10-year-old Aziz Al-Kolak.

It was also dedicated to victims Rola, Hala and Yara Al-Kolak, all under 12 years, who were receiving trauma and psycho-social supports via the Norwegian Refugee council in the months leading up to their recent deaths.

The image quickly spread online, with thousands of messages of support expressed from people in Gaza and the West Bank, who said they were "sending their love back to Ireland".

Brian Gormally, who works as an events producer and is part of the group, said they had been "blown away" by the support for the action.

"We've received messages from around the world, saying how much the image has touched and impacted people.

"We hope that the projection, on such an iconic symbol as the Cliffs of Moher, is received as a symbol of hope, and that people in Gaza feel less alone."

Caoimhe Butterly, one of the organisers, who has worked as a volunteer EMT on Palestinian ambulances and with psycho-social projects in Gaza said the intention was to express their empathy with those in Gaza.

"We wanted to remind people of the courage of survivors, despite the grief and trauma that they now navigate. Our hope was to connect our island nation here in Ireland- and the deep symbolism of the Cliffs of Moher- with people across the seas," she said.

"What was conceptualised as a humble, but evocative, visual message has had an impact beyond what we could have imagined. The image is being interpreted by many as a lighthouse in difficult times, and the response has been very heart-warming."

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Irish artists project 'beam of love' to Gaza

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Image projected, which featured the word Gaza and a loveheart, created as a symbol of both grief and empathy

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A group of artists projected a beam of light onto the Cliffs of Moher in Co Clare last night with the word ceasefire.

In a statement, the collective of Irish artists called for a permanent ceasefire.

In a statement, Dearbhla Glynn said: "In the midst of starvation, and the onset of famine in the north of Gaza, this image is intended to be a beam of empathy from Ireland to Gaza, and a call for collective action."

Caoimhe Butterly added: "Our action is particularly addressed to, and in solidarity with, the children of Gaza. There have been more children killed in Gaza in the past six months than four years of global war."

The group called for urgent political action to bring about a permanent ceasefire.

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Artists project Gaza message on Cliffs of Moher

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A group of artists projected a beam of light onto the Cliffs of Moher in Co Clare last night with the word ceasefire.

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 Wales hilltop monolith mistaken for UFO

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 Wales hilltop monolith mistaken for UFO

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A builder from a Welsh town has said he was "taken aback" when he spotted what he assumed was "some sort of a UFO" at the summit of a hill.

Craig Muir, who is in his 30s, came across the alien structure, which actually turned out to be a shiny, silver monolith - a large single upright block of stone - during his regular hike up Hay Bluff, in Powys, Wales, in the morning.

"When I first saw it, I was a bit taken aback as it looked like some sort of a UFO," Mr Muir, who lives in Hay-on-Wye, said.

"It seemed like a very fine metallic almost like a surgical steel.

"The steel structure was almost 10 feet long and looked perfectly levelled and steady, despite the weather being windy."

Craig Muir (pictured) said the monolith was 'accurately put in the ground'

Since there is no way to drive up to the top of the hill, Mr Muir suggested it could have been taken by a group of people or dropped off by the helicopter on its spot.

"It didn't seem like it was chucked in there, instead it has been accurately put in the ground," he said.

"However, there were no obvious tracks around it and one would think that there would be a lot of mess around it, but there wasn't."

This is not the first sighting of the mystery monolith as it was previously seen across the UK and Europe in recent years.

Social media users, including TikTokers and Instagrammers, have previously captured the giant structure in the Isle of Wight, the Merry Maidens stone circle in Cornwall and a few isolated parts of Europe.

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A builder from a Welsh town has said he was "taken aback" when he spotted what he assumed was "some sort of a UFO" at the summit of a hill.

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Sketch artist thanks Gerry Hutch for his ‘kindness’ for attending show

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Sketch artist Mike O’ Donnell thanks Gerry 'The Monk' Hutch for his ‘kindness’ for attending Listowel show 

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Sketch artist Mike O’ Donnell thanks Gerry 'The Monk' Hutch for his ‘kindness’ for attending Listowel show 

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Sketch artist thanks Gerry Hutch for his ‘kindness’ for attending show

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A court sketch artist who included paintings of Gerry ‘The Monk’ Hutch in a recent exhibition ha s thanked the veteran criminal for his “kindness” for attending.

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A grieving Palestinian, an Irish artist and the mural that brought them together

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A grieving Palestinian, an Irish artist and the mural that brought them together
                                      FEBRUARY 21, 20245:00 AM ET

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A grieving Palestinian, an Irish artist and the mural that brought them together
                                      FEBRUARY 21, 20245:00 AM ET

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DUBLIN - This is a story about war, art and the power of social media to bring strangers together.

It begins with a news photo.

In late October, a photo from the Gaza Strip went out on international news wires showing a Palestinian woman kneeling and cradling the dead body of a small child wrapped in a white shroud.

Among those around the world who saw the photo was Emmalene Blake, a teacher, activist and artist in Ireland's capital, Dublin. Her street murals typically focus on human rights, equality and social issues. She has painted giant outdoor portraits of George Floyd and the singer Lizzo, as well as murals in support of same-sex marriage, COVID-19 safety and World Down Syndrome Day.

Since Oct. 7, she has focused her art on the war in Gaza, including what's become her most famous mural - inspired by that news photo. In early November, on the outer wall of a pub in Dublin, Blake spray-painted a reimagined scene of the woman, with a Palestinian flag as the child's death shroud.

Photos of it went viral on social media. So much so that a few days later, she got an Instagram direct message from Gaza.

It was from Samia al-Atrash, the woman in the photo. She's still alive, in her hometown of Rafah, in southern Gaza - where more than a million internally displaced people from across the territory have sought refuge.

"I was happy so many people had seen the mural, and I got in touch with Emma to tell her, 'That's me in the photo,' " al-Atrash, 26, tells NPR by phone from Rafah.

A long-distance friendship forms from Gaza to Dublin

Al-Atrash works as a freelance journalist in Gaza, and is currently staying in Rafah with her brother and grandmother - the only relatives she has left.

In that first exchange over Instagram, she told Blake that the child in the photo was her 2-year-old niece Masa. "You painted me and my sweet niece Masa," al-Atrash recalls telling Blake.

The whole family was killed in an Israeli airstrike on their home in Rafah on Oct. 21: Masa Khader, her 4-year-old sister Lina, and their parents Loay Khader and Samar al-Atrash. The girls' mother was Samia's sister.

"They're not numbers. They're real people, who deserved to live. They had beautiful dreams and a beautiful, safe home," al-Atrash says. "My nieces would come to my house every week. Masa would wake me up in bed and say, 'Auntie, wake up! Let's have breakfast.' Those are beautiful memories for me."

These were the happy memories she wanted Blake to know about.

"They were Samia's world. They were everything that Samia has," Blake, 36, recalls al-Atrash telling her.

Al-Atrash says she wanted to make sure Blake learned about her 4-year-old niece as well.

"I'd wanted to hold Lina too that day, when the photo was taken," al-Atrash recalls. "But she was in pieces. So I couldn't hug her."

Blake went online and ordered prepaid cellphone service for al-Atrash so that they could keep in touch. They talk daily now. They exchange voice memos over WhatsApp.

"She's a beautiful person. Our friendship has helped distract me from my pain," al-Atrash says.

"I can't even begin to comprehend what she's going through," Blake says.

A new mural in Dublin, and a poem

The two women have started fundraising for Gaza together. They're selling prints of Blake's mural and donating the proceeds to UNRWA, the United Nations' Palestinian relief agency.

Their friendship has also inspired Blake to paint a new mural.

"I told Samia that I wanted to paint Masa as she should be remembered, and not as the image that the whole world has seen of her," she explains.

On Feb. 12, after four days of spray-painting, Blake finished her latest work: a two-story-high painting of a giggling toddler, on a backdrop of pink - one of Masa's favorite colors. It covers the entire outer cinder block wall of a Dublin tattoo parlor.

It looks like any other laughing little girl. Only if passersby use their phone toscan a QR code that Blake has painted in the corner of the mural will they learn about Masa, a little girl from Gaza.

The QR code also takes you to a poem Blake has written to accompany the artwork.

"It's called 'Second Time Painting You,' and it's just about all of the things that I didn't know the first time I painted Masa," Blake explains. "Because I didn't see a photograph of her. It was a photograph of her wrapped in cloth."
Second Time Painting You By Emmalene Blake That cheeky smile. I sketch it now. One finger to your lips. You look off to the side smiling at someone, something, that makes you feel happy, makes you feel safe. I sketch your runners, white with a floral pattern. They match your light denim jeans, embroidered with delicate flowers. Your mother took the time to pick them out, match them up. She carefully brushed your hair, pulled it into colorful bobbins. Put on your baby pink watch, so that you could see all the time you had. Or maybe to just hear the tick-tock of the seconds passing. Two-year-olds don't worry about time. I didn't know this about you when I painted you before. Didn't see it. Didn't see your smile. Didn't see the feather in your hair. Didn't see your flowery runners that match your flowery jeans. Didn't see the baby hairs all along your forehead that you had yet to grow out. See, when I painted you before, you were wrapped in cloth, your auntie clutching your shrouded body, rocking back and forth. Whispering words meant only for you.
In the coming weeks, Blake plans a third mural - this time, of Masa with her sister Lina.

"I asked Emma to paint them together, because I wasn't able to say goodbye to Lina like I said goodbye to Masa," al-Atrash tells NPR. "I asked her to paint them together, somewhere where everyone can see them."

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A grieving Palestinian, an Irish artist and the mural that brought them together

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Artist Emmalene Blake's mural on the wall of a Dublin pub became an iconic image of Gaza's grief. Then one day, she got an Instagram message from the Palestinian woman in the image.

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Russian Artist Threatens to Dissolve $45 M. of Artworks by Picasso, Rembrandt if Julian Assange Dies in Prison

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Russian Artist Threatens to Dissolve $45 M. of Artworks by Picasso, Rembrandt if Julian Assange Dies in Prison

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Russian Artist Threatens to Dissolve $45 M. of Artworks by Picasso, Rembrandt if Julian Assange Dies in Prison

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Russian Artist Threatens to Dissolve $45 M. of Artworks by Picasso, Rembrandt if Julian Assange Dies in Prison

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Andrei Molodkin claims to have 16 artworks collectively worth $45 million stored in a 29-ton safe rigged to a volatile chemical substance.

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Canadian teacher accused of selling students' art on personal website

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Canadian teacher accused of selling students’ art on personal website

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Canadian teacher accused of selling students’ art on personal website

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A Canadian teacher is under fire for allegedly using his personal website to sell nearly 100 pieces of art created by students, prompting disbelief and anger from parents.

Students at Montreal's Westwood junior high school made the chance discovery last night after searching out their art teacher's website. On it they found their own art, available for purchase on coffee mugs, mobile phone cases and clothing.

"Imagine your 13 year-old son coming home from school today with a story that his art teacher is selling students' artwork online at $94 per drawing without their prior knowledge!? That is completely insane," parent Joel DeBellefeuille posted on social media. "I'm sure I'm not the only parent that wants answers."

The teacher, identified as Mario Perron by CTV News, did not respond to the Guardian's request for comment. On his website, the Montreal resident describes himself as a "life-long student of art" whose works appear in private collections in Canada, the US, Spain and Italy.

More than 90 works are still visible on the site, with the titles of many works - Julia's Creepy Portrait, Charlotte's Creepy Portrait - apparently referring to the names of students who created the art. As of Monday, the links to the art instead route to Perron's paintings and the student art can no longer be purchased. Other social media accounts linked to Perron's art have been taken down, including pages on Instagram and Facebook.

"I'm extremely disgusted with this person. It's extremely, you know, it's unbelievable," Michael Bennett, who found work from both his daughters for sale, told CTV News. "Is [Perron] asking for these types of portraits to be done so it meets the market? I'm not quite sure on that aspect. However, I am not impressed at all with this person. I'm not impressed with the school, or the school board ... [My daughters] feel cheated."

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The school board said in a statement it was "aware of the situation and is taking these allegations very seriously", adding an investigation was "underway" and the board would not comment.

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Canadian teacher accused of selling students' art on personal website

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Parents in disbelief after students at Montreal's Westwood junior high found their art for purchase on mugs, phone cases and clothes

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'Breathtaking' polar bear image takes top photo prize

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'Breathtaking' polar bear image takes top photo prize

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'Breathtaking' polar bear image takes top photo prize

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A "breathtaking" image of a young polar bear drifting off to sleep on an iceberg has won the Wildlife Photographer of the Year People's Choice Award.

The shot, captured by British amateur photographer Nima Sarikhani, came top in a public vote that saw a record 75,000 nature and photography enthusiasts choose their favourite picture from shortlist of 25 images.

Dr Douglas Gurr, director of the Natural History Museum, which runs the annual Wildlife Photographer of the Year competition, said the picture is a visual representation of the impacts of climate change and habitat loss.

Mr Sarikhani, from London, said he wanted the photograph to inspire hope, as polar bears are incredibly adaptable and there is still time to "fix the mess we have caused" to their environment.

After three days searching for polar bears in thick fog off Norway's Svalbard archipelago, the expedition vessel Mr Sarikhani was on changed course to where there was still some sea ice, and encountered two of the animals.

Just before midnight, a young male climbed on to a small iceberg and used his paws to scrape away the ice to carve out a bed for himself, allowing Mr Sarikhani to capture the moment the bear drifted off to sleep.

He said: "I am so honoured to have won this year's People's Choice Award for the Wildlife Photographer of the Year, the most prestigious wildlife photography competition.

"This photograph has stirred strong emotions in many of those who have seen it.

"Whilst climate change is the biggest challenge we face, I hope that this photograph also inspires hope.

"Polar bears are incredibly adaptable and, in some areas, increasing in number, and there is still time to fix the mess we have caused."

Dr Gurr said: "Nima's breathtaking and poignant image allows us to see the beauty and fragility of our planet.

"His thought-provoking image is a stark reminder of the integral bond between an animal and its habitat and serves as a visual representation of the detrimental impacts of climate warming and habitat loss."

Among the 25 pictures, four shots that also proved favourites with voters included the interaction between a pond turtle and a northern banded groundling dragonfly, and a starling murmuration forming the shape of a bird.

Undated handout photo issued by Natural History Museum of Starling Murmuration by Daniel Dencescu, Germany/Romania, of a murmuration above Rome, Italy

Two lionesses grooming a cub and two moon jellyfish illuminated by the aurora borealis in a fjord in Norway were also among the highly commended finalists in the public vote.

Undated handout photo issued by Natural History Museum of Aurora Jellies by Audun Rikardsen, Norway, of Moon jellyfish in the waters of a fjord outside Tromso in northern Norway illuminated by the aurora borealis

The shortlist for the People's Choice Award was chosen by the Natural History Museum and an international judging panel from almost 50,000 images submitted for the Wildlife Photographer of the Year competition.

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'Breathtaking' polar bear image takes top photo prize

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A "breathtaking" image of a young polar bear drifting off to sleep on an iceberg has won the Wildlife Photographer of the Year People's Choice Award.

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After 38 attacks on art, climate protesters have fallen into big oil's trap - it's time to change tack | Giovanni Aloi

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After 38 attacks on art, climate protesters have fallen into big oil’s trap – it’s time to change tack

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After 38 attacks on art, climate protesters have fallen into big oil’s trap – it’s time to change tack

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How many of the 38 environmental protests staged in museums in 2022 can you remember? How many of the more recent ones only generated widespread outrage? Did any of them lead to tangible change? The protesters' cause is serious, the threat is very real, the message is important and urgent. But is it not getting through to the public?

Sixty years ago, Andy Warhol's Brillo Boxes and multiplied Marilyn Monroe screen-prints exposed modern repetition as an ideal of mindlessness - an inescapable capitalist pattern ingrained in the oversaturated modes of production and consumption that distract and overwhelm while nurturing an irreducible sense of modern apathy. How many times is too many? Repetition is a complex phenomenon: it can deepen or hollow out experiences depending on how it is deployed. Repeated ad libitum anything shocking quickly becomes commonplace. Aware of the risk, good artists try not to repeat themselves; instead they strive to constantly reinvent. From Friedrich Nietzsche to Søren Kierkegaard, Jean Baudrillard, Walter Benjamin, Mark Fisher, Frantz Fanon, Robert Hughes, and Amia Srinivasan, modern thinkers have dwelled extensively on the all-pervasive pacifying powers of unwitting repetitiveness. The shock of the new quickly melts into the air.

Tomato soup splashed on Van Gogh's Sunflowers and mashed potatoes hurled at Monet's Haystacks - the activists of Last Generation and Just Stop Oil want us to listen. Their objective is to save us from succumbing to the mundane, capitalist-induced apathy that has distorted our value scale. "What is more important? Art or the right to healthy, sustainable food?" shouted two Riposte Alimentaire protesters after splashing the Mona Lisa with pumpkin soup last month.

But the infamous protests involving glue, paint, and food-throwing are just the tip of the iceberg. These activist groups routinely engage in genuinely significant endeavours, much of which is disregarded by the media for lack of sensationalism. Protest after protest, awareness of this media bias has led anticapitalist demonstrators into an attention-seeking trap: they are now caught in the same repetitive cycles of capitalist-induced torpor that they sought to release us all from.

A study by Apollo Academic Surveys in 2023 showed that while disruptive tactics can certainly aid some causes, they often fall short of generating change when there are issues with high awareness but low support. Look no further than the endless stream of vilifying comments on social media platforms to witness how these protests have negatively affected public opinion. And, since fighting the climate crisis is a collective effort, the seriousness of this public alienation should not be underestimated. A study published by climatologist Michael E Mann in 2022 showed that, as a result of the protests, most people felt less inclined to join environmental efforts than before.

Last Generation activists who threw mashed potatoes at a Monet painting in the Museum Barberini in Potsdam, Germany, and then glued themselves to the wall below. Photograph: Zuma Press/Alamy

The museum protests have quickly turned environmental activists into an oil company's dream. Could it be that the activists who so desperately want to be heard aren't listening to us?

This disconnect with the public is caused by a misalignment between the protest site, message, and intended target that is deeply rooted in historical misconceptions and a misplaced trust in the romantic myth of the heroic saviour. Often, those who fiercely defend the throwing of food at paintings cite suffragette Mary Richardson's 1914 slashing of Velázquez's Rokeby Venus as proof that similar tactics work. While this historical event certainly caught the attention of the press, art historians have pointed out that Richardson's action negatively affected public opinion and that the museum attacks that followed alienated more people than they converted to the cause: how effective they were in advancing the suffrage cause, or whether they actually hindered it, is hard to determine. But what certainly played a key role in the suffragettes' success was their concerted effort; one clearly focused on a specific and tangible goal.

After years of seeing the same trick performed over and over, the latest pumpkin soup assault on the Mona Lisa felt redundant, if not downright pathetic. It's time to employ truly effective tactics; activist groups now must find new ways to manipulate media attention instead of letting the media paint them into a corner. Alternative successful models are right under the activists' noses. In 2016, oil protesters ended BP's 26-year-long financing of Tate galleries by organising a broad range of highly imaginative and creative performances, events, and sit-ins at Tate Modern and Tate Britain. Nan Goldin's campaign against the big pharma Sackler family has also proven incredibly effective, with many institutions cutting ties with them and removing their name from gallery walls.

These demonstrations have been successful because they are focused and specific; the objectives have been clearly matched to the targeted institutions and the ethical problems they face. These protests educate without accusing or confronting museum visitors. The pressure is applied exactly where it hurts and everyone listens. Despite some preposterous and self-congratulatory claims that the non-violent protests have "reactivated" otherwise passive works of art, environmental activists have mostly used museums as soapboxes and artworks as megaphone speakers. It is no coincidence that social media comments regularly invite activists to stop protesting in museums and escalate the targeting of oil company headquarters instead. Perhaps it's about time protesters started listening to museum visitors instead of repeating the same unfruitful tactic?

Giovanni Aloi teaches at the School of the Art Institute of Chicago. He is the editor of Antennae: The Journal of Nature in Visual Culture.

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After 38 attacks on art, climate protesters have fallen into big oil's trap - it's time to change tack | Giovanni Aloi

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Repetition has blunted the art museum protests so much that the pumpkin soup assault on the Mona Lisa felt pathetic. More effective tactics are needed

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Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history

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Entangled Pasts: Art, Colonialism and Change review – the most radical show in the RA’s history

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The latest institution to confront its colonial past, the RA does so to enthralling effect, using the art and its subjects – spanning 250 years, from Turner to Lubaina Himid – rather than the wall texts to shock and enlighten

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Banksy artwork appears on damaged building in Ukraine

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Banksy artwork appears on damaged building in Ukraine

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Banksy artwork appears on damaged building in Ukraine

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Banksy appears to have confirmed he is in Ukraine after revealing his latest artwork on Instagram.

Speculation had been mounting that the anonymous graffiti artist was in the war-torn country after a series of murals appeared in the town of Borodianka, near Kyiv.

One mural depicted a man resembling the Russian president, Vladimir Putin, being thrown to the floor during a judo match with a young boy.

A work thought to be by Banksy in Borodianka. Photograph: Ed Ram/Getty Images

Another showed two children using a metal tank trap as a seesaw.

However, the mural that Banksy used to reveal his presence in the country is of a female gymnast balancing on the rubble of a damaged building.

The Bristol-based artist, whose work sells for millions of pounds, posted three images of the mural on Instagram on Friday, with the caption simply reading: "Borodyanka, Ukraine".

The gymnast mural. Photograph: Banksy/Instagram/PA

Borodianka, a town north-west of Kyiv, was pummelled by Russian bombs at the beginning of the invasion.

Russian troops, rolling in from the Belarusian border 200 miles to the north, occupied the town in February. Together with Bucha, Irpin and Hostomel, Borodianka was one of the towns hardest hit by Russia's bombardments. It was liberated in April.

Ukrainian investigators found dozens of mass graves where the bodies of civilians - tortured and killed - had been buried. Moscow had unleashed cluster munitions and powerful unguided bombs in the populated areas of Borodianka, destroying dozens of buildings, with some being gutted and split into two.

Since then, the town has been the focus of reconstruction efforts, with several tower blocks demolished as a result of damage caused by the fighting.

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Banksy artwork appears on damaged building in Ukraine

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Graffiti artist appears to confirm presence in war-torn country after unveiling latest work on Instagram

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Why 4 million people have visited the Obama portraits | CNN

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4 million people have flocked to see the Obama portraits. Here’s why

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4 million people have flocked to see the Obama portraits. Here’s why

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Editor's Note: Kim Sajet is the director of the Smithsonian's National Portrait Gallery and a contributor to " The Obama Portraits," co-published by the National Portrait Gallery and Princeton University Press. An exhibition featuring Kehinde Wiley and Amy Sherald's portraits of Barack Obama and Michelle Obama is set to tour the US from June 2021. The opinions expressed in this article belong to the author.

Each year, we take more than a trillion digital photos, many of which will be shared on social media. But instead of people feeling more connected to the world, researchers are observing signs of growing social isolation.

Portraits, like real people, are demanding. They require not just face-to-face interaction, but deep contemplation of how the artists have brought their sitters to life.

I recently contributed an essay to a new book "The Obama Portraits," which explores the impact - and unprecedented popularity - of Kehinde Wiley and Amy Sherald's portraits of former US President Barack Obama and First Lady Michelle Obama. An estimated 4 million people have flocked to the National Portrait Gallery, where I serve as director, to see the two artworks, essentially doubling the museum's attendance since they were unveiled in 2018.

The question is why? Visitors know who the Obamas are, and what they look like. They've seen digital images of the portraits on their phones and laptops.

One online review of Wiley's portrait of Barack Obama offers one theory: "The colors are stunning and aren't done justice in the digital photography I've seen in the media." As the review suggests, you can't truly experience a portrait until you lift your head away from the device in your hand and look at the real thing. No matter how many reproductions you may have seen online, the original art is always far more profound in person.

That may be why millions have traveled to see the real thing - and why millions more may do the same when the portraits go on a US-wide tour from next year. It may also be because museums serve as liminal spaces, where people can pause for reflection in the company of strangers. (Liminality, according to the French ethnographer Arnold van Gennep, is a "betwixt and between" moment of social or individual change.)

The Portrait Gallery, specifically, has provided a place for people to take a break from their often-harried lives and connect with two people they admire, either alone or in the company of others, before returning to the relentless pace of the "real world."

However, there is also, I believe, another force turning the museum into a meaningful place of social interaction, and that is technology - or rather, the lack of it.

Ironically, for perhaps two of the most recognized people on the planet, it is paint not pixels, and conversations not cameras that make "visiting" Barack and Michelle Obama feel authentic. People often take selfies in front of the portraits as souvenirs of their visit, but I've noticed with interest how many of them then put away their devices and talk to each other.

Moreover, it is the shared experience of seeing the Obama portraits that is encouraging people to buck the trend described by James McWilliams in his article "Saving the Self in the Age of the Selfie" of shortened attention spans and "phubbing," when a person glances at their phone while talking to someone else.

"A genuine self can't be in two places at once," he observed, noting that true friendships have a better chance of success when they begin in defined social spaces where a certain behavior requires your full attention.

In the case of the Obama portraits, visitors have to use both their head and their heart to make personal connections while taking account of their surroundings. For example, there are similarities between the portrait of Barack Obama and the seated compositions of other former US Presidents Abraham Lincoln, John Fitzgerald Kennedy and George W. Bush.

Yet, there are vast differences, like Wiley's fresh take on official portraiture by incorporating floral symbols that relate to the former president's life: chrysanthemums for Chicago, jasmine for Hawaii, African lilies for Kenya and roses for love. Reading the labels, or taking a guided tour with other people, is part of an interactive experience that transcends technology.

So too is standing in line. As the dedicated security personnel can attest, there is a real sense of camaraderie between visitors as they queue up to take their turn in front of the pictures. Groups debate, teachers teach, strangers overhear the comments of others and often chime in. It's the phenomenon of being connected and unplugged, offering emotional authenticity in a world of relentless feedback loops and "tech anxiety," that is part of the draw. As the Harvard historian and noted author, Jill Lepore mentioned in an interview on the museum's "Portraits" podcast, people-watching is a pleasure when it comes to seeing visitors approach the portraits for the first time.

There was once a time when I used to beat myself up that the National Portrait Gallery wasn't as technologically advanced as its peers. We didn't have audio guides and are just now introducing a free app to offer multiple languages and support for the visually impaired, rather than as an essential in-gallery tool.

But now I realize, as I walk around the museum, that its lack of technologies might, in fact, be adding to the liminal experience, helping us set aside our "digital selves" in order to connect with our "inner selves" and commune with those around us.

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Why 4 million people have visited the Obama portraits | CNN

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The Obama portraits have doubled attendance at the National Portrait Gallery since they were unveiled in 2018, writes the museum's director, Kim Sajet. So what is it about "visiting" Barack and Michelle Obama that feels so authentic?

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Textile art inspired by vintage photographs of African Americans - in pictures

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Textile art inspired by vintage photographs of African Americans – in pictures

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Textile art inspired by vintage photographs of African Americans – in pictures

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Since 2017, New Jersey artist Bisa Butler has been creating a "quilted fabric album": large textile portraits drawn from old black-and-white photographs; her most recent series is inspired by images of African Americans taken by the government during the second world war.

The materials she uses - kente cloths and other traditional African fabrics - nod to African American heritage, including Butler's own as an American of Ghanaian descent.
See more of Butler's work on Instagram and at Claire Oliver Gallery

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Textile art inspired by vintage photographs of African Americans - in pictures

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Bisa Butler celebrated African American figures through textile art.

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SPICEBAG TALKS THE ART OF POLITICS, IRISHNESS, AND MAKING A MAGAZINE - THE TENTH MAN

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SPICEBAG TALKS THE ART OF POLITICS, IRISHNESS, AND MAKING A MAGAZINE

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SPICEBAG TALKS THE ART OF POLITICS, IRISHNESS, AND MAKING A MAGAZINE

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At the beginning of April, artist Adam Doyle, also known as Spicebag, made his television debut on Virgin Media's The Tonight Show. Following the show, a video capturing a notable exchange between Doyle and Fionnán Sheahan, the editor of Irish Independent, quickly gained traction on Twitter, becoming viral. We had a sit-down with Adam to chat about his artwork and what led to his appearance on The Tonight Show. We got insight on the person behind the art and spoke about some of his other ongoing and new projects.
Let's start with the topic of the moment, which is your eviction artwork. Am I right in saying it wasn't actually created this year? It's obviously had a resurgence in attention over the last couple of weeks, but if you could take us back to when it was first created and the inspiration behind it?
I think it was 2020 when I made it. It's all sort of a blur now. I put it up as part of a series evaluating things that were going on in Irish society at the time and drawing a parallel with things happening here hundreds of years ago.

I ran it again when the eviction of That Social Centre, in Stoneybatter, happened, that was when, I can't remember which developer it was now, but essentially he, his close mates and family showed up and started laying into people then the Gardaí showed up in force. It was very violent, they went in and they smashed the whole place, pulled all the things off the walls. They had the place done up nice and were operating it as a social centre. It used to be vacant property and they were using it for something positive and, rather than working this out in a reasonable way, they just destroyed it.

A bunch of people showed up and resisted and then the Gardaí got involved - they were driving a van into people at one stage. It was very unsafe. It annoyed me so I thought, fuck it; I'll run the prints again to [fundraise to] repair the place. Given the amount of money that went into it originally, the money I raised was only a fraction of what they needed.

I issued [the print] again recently with the end of the eviction ban. There is going to be a tsunami of evictions and mass injection of people into an already obscenely crowded property and rental market. I raised just under a grand or something, then Eoin Ó Broin who is Sinn Féin's housing spokesman, shared it on his Twitter. That caused World War Three because Simon Harris and the Minister For Justice who both follow Eoin started to lose the head.

Then Antoinette Cunningham of the AGSI took huge offence to it. It got turned into a political football with Sinn Féin on one side trying to use it to draw attention to the fact that they were voting against the eviction ban ending and then the coalition parties using it as a way to, I guess, show some love to the Gardaí while also having a dig at Sinn Féin.

I don't have Twitter, thank god, so I wasn't involved. It was mad, I didn't really expect that to happen at all. I just woke up and saw loads of missed calls on my phone and loads of messages on my Instagram; this lad from RTE, a lad from Red FM Cork. It was causing a conversation, which is good.

I feel the wind went out of the whole Gardaí hate thing pretty quickly. I think even Antoinette Cunningham started to walk that back. They were trying to frame it that I was trying to have a go at the guards, which I am but it's not exclusively, and it's not like I am completely out of pocket trying to do that.

Then I was brought onto the Virgin Tonight Show and then it properly hit the fan because the Irish Independent editor came prepared. He had done a sneaky thing, he had written an article and then when I was in the green room, they published it so I had no way of responding to it.

He actually made it go even bigger and he was obviously looking at it in a very 'got ya' way. The way he responded to me probably would've worked if I was like a Sinn Fein TD but I'm not, I don't really care what he was upset about. It kind of felt like I was in school, he was shouting at me, talking over me, so I just kind of let him talk. I think he came off pretty badly.

Even the coalition TD beside him was just looking at the wall, they weren't getting involved. It came off as like, very out of touch. But that's kind of what propelled it into the stratosphere.
I think it's really interesting with the artwork - and Blindboy says the same thing on his podcast - that you've not really created anything new here. You've remixed a few different existing visuals; you haven't pulled the Gardaí out of context in this piece and put them in a different context to the original images. You've also gone from being somewhat anonymous to going on the TV and having your name and your face very much out there. How's that been and how was making that decision?

Do you feel a sense of nervousness about the lack of anonymity moving forward now? Or are you cool with the decision to be more visible and you're ready to kind of rock and roll with it moving forward?
Again, I'm not on Twitter! I feel like this would be a lot more stressful if I had Twitter because that's where people voice their opinions; you get a few threats and that kind of thing. But they were few and far between and they were quite lame so I wasn't too concerned about them. The reaction has been overwhelmingly positive. And I probably will continue my sort of brand beforehand with the masks and that. Unless, you know, there is another serious thing to talk about.

I was never fully anonymous [online] - my face was anonymous but I wasn't totally anonymous. My name would have been on my articles, my journalism. [I write] mainly about the North, particularly loyalist paramilitaries, paramilitary violence, intimidation, that kind of stuff, and I have no problem putting my name to those articles. I am also looking to do some other more serious sort of social commentary type content with my name attached.

I was listening to a podcast during the week, and you spoke about when you first collaborated with the guys over at Kneecap, and how at that point you started to lean more into the political aspect of visual arts. Could you tell us a little bit about that and how the relationship with Kneecap came to be and how everything has gone since then?
I met them at a gig down in Clonmel while I was in college doing video game art. I dropped out of that, but I met them then and we hit it off. I offered to do some of the posters and merchandise for them and I did that with them for a while. Through that I got introduced to a lot of other Irish creatives. The political side of [art] is something I've always had an interest in.

Once I hit my stride with that, I was like, this is something I really enjoy doing. I really like creating little expressions of like, if you want to call it pop culture, and maybe like meme culture and stuff like that.
You also mentioned to me before that you feel most inspired when you're in Ireland, rather than being abroad. Are there any Irish references in particular that you draw from? Is it just the surroundings and living here?
That's a hard question. I feel more involved [in Ireland], I guess. And when I'm talking to people, they kind of generally understand what you're talking about and it resonates more. I was working in London for a while for a clothing brand over there, just doing bits and bobs, but I felt quite detached. I like being here, the little things, like being able to go to the pub. You can obviously do that in London but there is kind of a magic or like an enhancement in Ireland. Anywhere in Ireland does it for me. I'm very particular about that. But I'm very invested in Irish culture and politics and what have you.
Could you speak to the process that you have in terms of cooking up ideas, sitting on them, you know, bringing them forward, and then eventually deciding to publish whatever you end up publishing?
I think I've said to you before that I have a lot of shit ideas as well. It takes a while to carve something that might be good. I come up with things at a mile a minute, and then it takes a while, sometimes you sit on it for a few weeks or a few months. I feel like everything kind of has a punchline. So it's just coming up with a good one. Like, there is a punchline to The Eviction and I feel like it's the same with the rest of the stuff I create as well.
I think your journalism is a somewhat lesser known aspect of you. You've been working with Popular Front for the last three or four years. Can you speak a bit about how you work with them?
Popular Front is a grassroots conflict journalism organisation based out of the UK founded by Jake Hanrahan. There's only 6 people on the team. It's got a huge following now, I think it's nearly 450,000 people on Instagram. We don't do articles; we don't have the resources to do that.

The way we do it at the moment is a weekly podcast, which is about staying on top of stuff and speaking to journalists around the world. There are also daily social media updates, so we pull video content from across Twitter. Usually, these are from open source intelligence people that are constantly updating on things in their own country or around the world. We just give a broad overview of conflict on a daily basis.

Aside from that, we produce films as well. I think our most successful one is 'Plastic Defense', where we spoke to this fella called JStark, who essentially developed a fully reliable, make-it-in-your-gaff 3D printed assault rifle. It's obviously very scary for like, you know, people in power or whatever.

That kind of film propelled us to a much larger audience, so we kind of cover fairly mad stuff. Now I don't go anywhere near any of these places! I sit at my desk. But yeah - [Popular Front] is a brand, a lot of people love it, we have a big community on social media, a Discord, all this kind of stuff.

You've got some other things cooking at the moment that you have told me about during the week. As you move forward from this kind of explosion in recognition and everything else, what's next for Spicebag?

That's the kind of stuff I want to move into, more serious content, because I do appreciate that. A lot of my stuff is very tongue in cheek, but these projects, the magazine and film, are very much dealing with difficult subject matters as well.

Tickets for the issue 01 launch party of COUNCIL are available now via Eventbrite. You can follow Adam at @spicebag.exe and keep up to date with COUNCIL at @council.gram.

Lead image artwork by @melville_the_third.

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SPICEBAG TALKS THE ART OF POLITICS, IRISHNESS, AND MAKING A MAGAZINE - THE TENTH MAN

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At the beginning of April, artist Adam Doyle, also known as Spicebag, made his television debut on Virgin Media's The Tonight Show. Following the show, a video capturing a notable exchange between Doyle and Fionnán Sheahan, the editor of Irish Independent, quickly gained traction on Twitter, becoming viral.

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TikTok Star Devon Rodriguez Is Now the Most Famous Artist in the World. But What About His Work? | Artnet News

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TikTok Star Devon Rodriguez Is Now the Most Famous Artist in the World. But What About His Work?

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TikTok Star Devon Rodriguez Is Now the Most Famous Artist in the World. But What About His Work?

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Devon Rodriguez is almost certainly the most famous artist in the world, at least on one level. Almost no one I know has ever heard of him. Except if you say: "he's the painter who draws people on the subway, from TikTok." Then sometimes they will light up with recognition.

He has just closed a solo show titled " Underground, " his first, and everything about it reflects exactly this strange combination of hypervisibility and invisibility. It was in Chelsea, New York's blue-chip art hub, but was not at an actual gallery. Instead, it was a pop-up staged by UTA Artist Space, the art arm of the Hollywood talent agency that inked a deal to represent Rodriguez "across all media" in 2021.

When I showed up for the opening back at the beginning of September, the line of fans stretched from 10th Avenue to 11th. Along with many dozens of other people, I failed to get in. The opening of "Underground" was a real event, covered on CNN. For many, Rodriguez is both a celebrity and a role model, representing a new pathway to success.

New-Model Art Fame

Born in 1996, Rodriguez grew up in poverty in the South Bronx, one of the poorest neighborhoods in the country. He was abandoned by his father; Child Protective Services removed him from his mother at an early age to live with his grandmother. He did graffiti, eventually discovering painting through supportive high school teachers. In the mid-2010s, he dropped out of the Fashion Institute of Technology to pursue a career in art, his painting catching the eye of legendary Bronx artist John Ahearn when it was in a group show. In 2016, Ahearn would go on to submit a likeness of the then-20-year-old artist to a portrait contest at the Smithsonian, giving Rodriguez some of his first press.

In an article about their friendship in the that year, Rodriguez was described as teaching Ahearn how to promote his art on social media. Smash cut to 2020, when Rodriguez had the life-altering inspiration to post to the suddenly ubiquitous platform TikTok. Instead of just showing off his drawings themselves, Rodriguez filmed himself clandestinely making art on the subway, gifting strangers a drawing of themselves and then capturing their emotional reactions.

He hit pay dirt.

Almost immediately, Rodriguez's subway vignettes were getting millions, sometimes tens of millions, of views. As of now, Rodriguez has over 32.5 million followers on TikTok, and many millions more across other platforms. According to a 2021 New York Times article about him moving from the Bronx to the Lower East Side, Rodriguez's day rate for doing sponsored content can be $20,000 to $30,000. Last November, he met president Joe Biden, who accepted a Rodriguez drawing of himself, marveling, "It looks like a photograph!"

"Underground" featured about a dozen paintings in a detailed, photographic style, plus some nicely rendered charcoal drawings. All depict Rodriguez's signature theme: people riding the subway, reading or looking at their phones or lost in thought.

"Underground" Painting

A few days after my failed attempt to go to the opening, I went back to the pop-up on a wan weekday afternoon. Then, only a trickle of people came in and out. It felt pretty much like any other gallery in Chelsea, except that UTA had given the space a subway-themed white tile treatment to go with the subway theme of his show, and some MTA-style hard plastic orange seats.

In a statement for the show titled "Deeper Underground," UTA Artist Space boss Arthur Lewis waxes poetic about Rodriguez's vision:

In his hands, a single brushstroke becomes an orchestra, a dance, a poignant conversation frozen in pigment. Devon's creations transport us to a realm where colors converse, shadows whisper, and emotions transcend their two-dimensional confines. His art embodies the essence of what it means to be human-to observe, to interpret, and to share.

Well, he's an excellent technical painter-there's a reason why his art would have stood out to someone like John Ahearn. But even by the standards of press-release hype, Lewis is overselling it. The brushstrokes are determinedly inexpressive, not "a poignant conversation frozen in pigment." As for the colors, the paintings mainly look as if Rodriguez has tried to stay as close to a photographic reference as possible.

Rodriguez's subject matter has pathos: subway riders lost in their own worlds. But it is somewhat conventional as well. Rodriguez was inspired by, among others, his teacher at the High School of Art and Design, the painter James Harrington, who mines strikingly identical subject matter in a slightly more painterly way.

Consider Rodriguez's largest canvas in "Underground," its big statement (on TikTok, he presents his paintings with the number of hours he has spent painting them-in this case, the number is 680 hours). It is a self-portrait in a crowded subway car. It shows him surrounded by people on their phones, sketchbook in hand. Here, he has rendered his own face at a sharper level of detail than everyone else's-a nice touch, as if a lens was focusing in on him. That's the kind of device that gives this work more articulation than the meat-and-potatoes photorealism of the other canvases.

Beyond Rodriguez's rendering of his own face, the most prominent element in this painting's composition-in fact, the detail that his gaze seems to be guiding you towards-is the huge hand of the man whose body is mainly cropped out at bottom left. It's the most prominent detail, but it's a little wonky. It looks like a small rotisserie chicken. If I had this painting on my wall and had to look at that mitt every day, it would start to bug me.

Well, hands are infamously hard to paint. Again: Devon Rodriguez is a talented painter. I just think it's clear, if we're honest, that it's not ultimately his painting technique that is key to what brought the big crowds to the show.

The Craft of Going Viral

And indeed, the most prominent feature of "Underground" was not that large self-portrait. It was a short UTA Artist Space-created film that played, on a loop, recounting Rodriguez's personal story and rise to viral mega-fame via TikTok, showing both his encounters with ordinary people and the clips where he stages run-ins with the likes of Ed Sheeran or Jared Leto on the subway.

The aforementioned orange subway seating was installed to encourage you to sit and watch this video, not to sit and look at the paintings. The projection was larger than any of the paintings, dominating the display.

Basically, UTA Artists Space's curation was very clearly signaling that his social-media celebrity looms far larger than his accomplishments on canvas. The TikTok clips, with Rodriguez's catchphrase, "Miss, I drew you" or "Sir, I drew you," are what Rodriguez is famous for.

This represents a craft all its own, quite distinct from the craft of draughtsmanship. Rodriguez explained to :

You have to have a good hook, a good middle story, and a good ending. And a really good incentive to watch to the end.... The algorithm boosts the videos that get watched the most, and the people scrolling are given the best of the best. All I had to focus on is keeping people on the app, and somehow molding my work into something that's entertainment.

On some level, the clips are hard not to like. All the same, the too-viral-to-be-true nature of Rodriguez's rise to fame has inspired an entire genre of YouTube debunker videos, trying to prove that he could not possibly be organically doing what he said he was doing.

My brow furrows watching his appearance on ABC News last year. "You're able to do it so quickly-what's the secret?" host Linsay Davis asks. Rodriguez replies, "There's no secret; it's just a lot of years of practice." As they are speaking, the clips ABC plays are of him handing people on the subway what appear to be fully painted, completely dry portraits of themselves, wearing the exact outfits that they are currently wearing. "Fake," I think.

And indeed, while his clips are staged as if they were spontaneous, Rodriguez has admitted (in that Times story about him moving to Manhattan) that he "gets advance permission from the person he wants to draw and asks how long they expect to be on the subway." At this point, it seems that everyone involved is basically simply collaborating on a bit of theater to make a nice viral moment.

In some cases, Rodriguez even seems to be now openly making fun of the idea that these are spontaneous encounters, as with a recent video where he pretends to randomly spot Friends actress Courteney Cox walking in Soho. He stops her, asks to draw her-then draws a perfect sketch in under 10 seconds.

If everyone agrees to go along with this kayfabe, it is because a) it is in everyone's interest to do so, and b) Rodriguez seems like just such a genuinely nice person, someone you root for.

On camera, he has a hard-to-pull-off combination of modesty and bravado. His personal rags-to-riches story-from hardship in the Bronx to painting his way out of poverty-is a big part of the appeal, good material to serve the bottomless media hunger for unthreatening uplift content. There are many, many, many profiles of Rodriguez retelling his origin story; there are almost zero art reviews, where people talk about what makes his artworks work, or not work. His biography was central to the marketing for "Underground," both on social media and in that in-gallery video.

(On a slightly less uplifting side note, a big character in Rodriguez's rise has been Keith Rubenstein, the very wealthy property developer behind the infamous 2015 poverty-themed "Bronx Is Burning" party, which brought supermodels and actors to the Bronx to swig champagne in front of bullet-ridden car wrecks and burning trash barrels as part of his push to rebrand Mott Haven as the "Piano District," to prime it for mega-gentrification along the Williamsburg/DUMBO model. In a 2017 New York Times story, " The Rebranding of the Bronx, " Rubenstein was cited as commissioning a $6,000 portrait from Rodriguez. In the build-up for "Underground," Rodriguez shouted out Rubenstein as "my good friend," thanking him for providing the space for the show. I was supposed to interview Rodriguez, but the condition of the interview was that I not ask any questions about Rubenstein.)

Artist as Content

Finally, it's worth saying that the context of Devon Rodriguez's astronomical rise as the world's most-followed painter came exactly at the moment of mid-2020, when the world was incredibly fraught so that feel-good stories had a particular charge. It was also when the pandemic had thrown everyone into isolation, so that the only access to new art, for most people, was screen-based.

Back in 2017, I suggested the term Influencer Artist for a kind of organically hybrid creative phenomenon, someone who, because they mainly showed their art via social media, evolved toward producing something that was a mix of conventional art object, performance art, and self-promotion. It seemed as if this hybrid was the direction that these platform contexts nudged art-exactly as Rodriguez has been nudged, from a fairly straight-forward realist painting practice to staging run-ins with celebrities. "Most people in society don't love art-it's a niche thing," he explained to CNN. "So I was thinking, how can I mix that with something most people enjoy, and make it digestible for people."

Rodriguez's example is much more wholesome than the types of Influencer Art I mentioned back in 2017, like the now-obscure Allie and Lexi Kaplan, a.k.a. the Kaplan Twins, NYU painting students who started out painting stills from celebrity sex tapes, then realized that posts with themselves in them got more likes, ending up doing seedy performance art. But Rodriguez's case also feels a bit like Influencer Art assuming its fully realized, most optimized final form.

In the end, to understand what Rodriguez represents as a creative force, it's more helpful to compare him to someone like Brandon Stanton, the photographer who built an "empire of empathy" off his Humans of New York photoblog on social media, than it is to compare him to contemporary painters like Kerry James Marshall or Peter Doig. We have to be honest about what's really being sold here, since the spectacle of Rodriguez's success is absolutely shaping other people's aspirations.

It is actually likely that as a role model, Rodriguez is more relatable to young painters who are under what Karen Patel calls the "pressure to presence," that is, to connect with an audience as a relatable micro-celebrity in addition to maintaining an art practice. The case of Devon Rodriguez is further evidence for the shift in emphasis from consuming art as content, to consuming artists as content.

And we have to take the word "consuming" here in both its senses. Art that rises first through the context of social media, with its hyper-charged trends, is subject to rapid decay in interest if it doesn't deepen its audience meaningfully beyond whatever gimmick fired the algorithm in the first place. In 2023, Rodriguez is essentially in a race to develop an audience with a more-than-superficial interest in his actual painting faster than his social-media presence is drained of goodwill through over-exploitation.

I'm not totally sure, based on "Underground," that this is a problem fully resolved-but it's a problem that is bigger than just him, and I am rooting for anyone who is trying to solve it.

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TikTok Star Devon Rodriguez Is Now the Most Famous Artist in the World. But What About His Work? | Artnet News

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What does the Devon Rodriguez phenomenon mean for art? Ben Davis looks at the discourse around his show "Underground" from UTA Artist Space.

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'Statues are of dead blokes. This is a living woman kicking arse.' How we made the fourth plinth's Alison Lapper Pregnant

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‘Statues are of dead blokes. This is a living woman kicking arse’: how we made the fourth plinth’s Alison Lapper Pregnant

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‘Statues are of dead blokes. This is a living woman kicking arse’: how we made the fourth plinth’s Alison Lapper Pregnant

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Marc Quinn, artist

Around 1999, I started making sculptures of people with differently shaped bodies. I wanted to celebrate a different kind of beautiful, a kind of body other than what you normally see in art. I approached the British Paralympic Association and through them contacted Peter Hull [the British swimmer and Paralympic gold medallist] and made a sculpture of him. Pete was a friend of Alison Lapper and he put me in touch with her. By the time she agreed for me to sculpt her, Alison was pregnant with her late son Parys. I thought: "Wonderful! Pregnancy is about the future!" I thought the sculpture could be a monument to the future, when a great deal of sculpture is a monument to the past.

Alison came to my studio and we made a cast of her which gave the basic form. We took measurements and photos - we were creating a kind of 3D sketch. But the point of the sitting was to get a sense of how she sits and her spirit. It took about four hours, which was very demanding on her. I can't remember if there was music playing, but I do remember we were chatting the whole time.

Between the initial sitting and the final sculpture there was a lot of work, sourcing the marble in Carrara, Italy, and so on. So much so that by the time Alison came to see the final sculpture, Parys was three, I think. It was exhibited at the White Cube in London and a gallery in Germany and was well-received.

'We got a lot of flak, to put it mildly' ... Marc Quinn with his artwork being put into position in Trafalgar Square. Photograph: Sarah Lee/The Guardian

Then all hell broke loose when we applied to have the sculpture on the fourth plinth in Trafalgar Square. Alison Lapper Pregnant was unveiled on 15 September 2005. It was 13 tons and 3.5 metres high. We got a lot of flak, to put it mildly, from it being called "patronising" to "ghastly". But I think it was, and remains, incredibly subversive. Every other statue in that part of London is of a dead bloke who conquered the world. And here, instead, was a living woman looking to the future and kicking arse.

It was up there for two years, a year longer than usual since the next sculptor hadn't finished their piece on time. Since then, it has been looking for a home. Every organisation we approached in New York, because a lot of public squares in the city are privately owned, said no. They didn't want to be associated with something so controversial. We're looking for the right place to put it permanently. This artwork needs to live in public.

The idea was to be part of the world and part of how people think in the time you live in. That's all you can do, isn't it? If Alison and I changed the world a little, that's great. In 500 years, people will be looking at this sculpture and they will know it was of Alison but not who made it. Alison is immortal in that sense - what she represents will live beyond both of us.

Alison Lapper, artist and model

Alison Lapper with her son, Parys, at the unveiling of the sculpture. Photograph: Dan Chung/The Guardian

In the beginning, I didn't understand what Marc was trying to do, so I said no. Then a year later he called and I told him I was pregnant - it was almost as if he dived down the phone. One of the reasons we are probably still friends and working together is because I realised that to have a sculpture made of me while pregnant, that will exist longer than I'm going to be here, is great. It's going to outlive me and it has already outlived my son, Parys.

I sat on the table in Marc's studio for four hours. He literally had to hold me up towards the end because I was so tired - I'm not good at sitting without support. For me, it was about capturing that moment in time when I was pregnant, knowing that I would probably never be pregnant again. It wasn't awkward to chat to Marc while I was naked. I'm very comfortable in my own skin.

When it was first announced that the sculpture was going on the fourth plinth, I was slated. The Sun wrote about "Travulgar Square". It was awful. People are less obviously rude today but the same judgments are there. I'm making a documentary at the moment using archive footage of when I was a child, and the so-called professionals talked about us as "limbless babies", as if we were broken and not complete. Most people think all disabled people are a drain and burden on society. People think I am completely useless. But I can do anything or go anywhere. I open my mouth and they fall over. When they find out that I drive a car, I work, I've got a mortgage and had a child, it blows their minds.

This sculpture gave me a voice for the first time and maybe it did the same for others who have different bodies. I was up there, a pregnant, naked, disabled single mother. Marc couldn't really have picked any better.

I look at the sculpture and it makes me smile, because I was told I could never have a child. People were writing to the papers going: "It's disgusting that people like that should be allowed to get pregnant." Excuse me?

Parys died four years ago from mental health and drug problems, which, despite what they say, go hand in hand. How can you explain what it's like to lose a child? He was the most precious human to me in the whole world. I would have given up anything for him, done anything for him. I took photographs of my dear son and used them as the basis for paintings and portraits of him when he was very ill and when he died. I painted his portrait, with me kissing his forehead, to go into the exhibition that Marc and his team have helped me organise. It tore me apart, because I had to stare at this scene for weeks and weeks on end.

If you want to challenge me, bring it on, because all I'm doing is trying to portray the feeling of grief and loss in a way that many people, for whatever reasons, don't understand. In the same way that the sculpture of me was looked at as horrific in the beginning, some might find it horrific that my dead son is on these canvases. So criticise if you like, but I've been brave enough to go, "Right, this is the most painful thing to do. But I'm going to follow through and do it." And I have.

Alison Lapper's exhibition Lost in Parys is at Bethlem Museum of the Mind, Bethlem Royal hospital, Beckenham, Kent, from 7 February to 1 June.

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'Statues are of dead blokes. This is a living woman kicking arse.' How we made the fourth plinth's Alison Lapper Pregnant

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'I was slated for it. People were writing to the papers saying, "It's disgusting that disabled people should be allowed to get pregnant." Excuse me?'

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Move over Saint Patrick: why the world should be celebrating beer-brewing Brigid

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Move over Saint Patrick: why the world should be celebrating beer-brewing Brigid | Art | The Guardian

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Move over Saint Patrick: why the world should be celebrating beer-brewing Brigid | Art | The Guardian

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Just over a year ago, on 1 February, the Irish population gathered, with bundles of straw "Brigid crosses", to celebrate the first formalised feast day of Saint Brigid, patron and "mother saint" of Ireland. It was the first time the country had dedicated a public holiday to a woman, and festivals opened as schools were closed. Trinity College Dublin even installed four portrait busts of women in its Old Library: scientist Rosalind Franklin, dramatist Augusta Gregory, mathematician Ada Lovelace and feminist rights activist Mary Wollstonecraft. This marked the first time that women had ever been honoured in the barrel-ceilinged colonnade, which, since 1743, had exclusively housed 40 portrait busts of men.

I only heard about this saint, and her celebrated feast day, when I read Emma Dabiri's powerful essay Disobedient Bodies, which delves into the patriarchy's impact on women's beauty. Dabiri noted that Brigid was a woman who lived -in the fifth and sixth century - on her own terms, fought against forced marriage, brewed beer from lakes and cared for the land. While Dabiri was taught about Brigid at school in the 80s, it was never in this light. So what was her story?

'Signalling a new era' ... Saint Brigid on a stained glass window. Photograph: Junak/Getty Images/iStockphoto

With Ireland's history steeped in ancient Celtic mythology and dominated by the Catholic church, the figure of Brigid has dual significance. To Catholics she is the celebrated abbess who founded Kildare Abbey and other monastic communities, and managed 15,000 nuns. She died on 1 February 525 and according to some is the Christianised version of the Celtic pagan goddess of the same name.

The pagan Brigid was part of the Tuatha Dé Danann - a race of dieties who are said to have inhabited Ireland before the Milesians, from whom today's Irish people are descended. Raised among druids, Brigid was the daughter of an enslaved woman and the Dagda, chief of the gods. The myth goes that she created Ireland by throwing her cloak over the land, which unrolled like a silver flame. Once the mist cleared, the Tuatha Dé Danann were able to see their country clearly: a land of emerald green grass and luminously coloured flowers - a scene evocative of her feast day that marks the dawn of spring.

So why has it taken so long to commemorate her, when her male counterpart, Saint Patrick, is celebrated in more than 200 countries? Over the past two decades, Ireland has experienced drastic social, political and historical reckonings. Many of these have coincided with the waning influence of the Catholic church, from allowing same-sex marriage in 2015 to the legalisation of abortion in 2018, a campaign in which Brigid, who helped women terminate their unwanted pregnancies, was frequently cited.

Nonetheless, it's not as if she was never celebrated. In the late 19th and early 20th centuries, when the country was experiencing a Celtic cultural revival, artists and writers told her story. In 1910, the Irish poet Ella Young and illustrator Maud Gonne, a suffragette, published Celtic Wonder-Tales, which begins with Brigid's creation of Ireland. But with the emergence of a conservative government, and a dominating patriarchal church, these narratives were quickly forgotten.

A century on, the celebration of Brigid feels more permanent. "Brigid is about signalling a new era based on her principles of equality, unity, truth, compassion and love," said Laura Murphy, a poet and daughter of a survivor of one of Ireland's mother-and-baby-homes, who fought for Brigid's national recognition.

'Mother saint' ... a statue in Kildare. Photograph: Peter Morrison/AP

Like those working a century ago, author Sinéad Gleeson says that Brigid is once again a touchstone for Ireland's writers and artists: "It's a lot to do with her commitment to speaking up, to making her own kind of life." Gleeson's novel Hagstone, out in April, is rooted in landscape and mythology and keeps Brigid alive by referring to the story of her cloak.

"It's a dichotomy in some ways, to have such an ancient figure as an emblem of a more progressive Ireland," Gleeson adds. It's also a reminder that pioneering women have always existed, yet the dominant, patriarchal narrative of history has so often kept us from seeing the full picture.

Gleeson prompts us to search out the women who held abusers to account and spoke out for their rights. Brigid's feast day, as well as being associated with creativity, wisdom, fertility, healing - and a time to acknowledge the achievements of all women - is also about renewal. If only those who celebrate Saint Patrick globally could do the same for Brigid, the world would be a better place - especially as her skills extended to transforming dirty water into beer.

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Move over Saint Patrick: why the world should be celebrating beer-brewing Brigid

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She opposed forced marriage, assisted pregnant woman, managed 15,000 sisters - and could turn muddy water into ale. This saint should be celebrated across the globe, not just in Ireland

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Protesters throw soup at Mona Lisa in Paris

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Protesters throw soup at Mona Lisa in Paris

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Protesters throw soup at Mona Lisa in Paris

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Protesters throw soup at Mona Lisa in Paris

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In a video shared by French news agency CL Press, a woman can be seen throwing liquid from a tin at the artwork.

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Body found in Derry bog dates back to Bronze Age

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Body found in Derry bog dates back to Bronze Age

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Body found in Derry bog dates back to Bronze Age

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Experts say a body found in a bog in Co Derry dates back to the Bronze Age.

It was found last October by workers at a commercial peat extraction company at Newferry, near Bellaghy.

Police were called in after the remains were found.

They were subsequently taken for carbon dating to establish their age.

The find was made near where Nobel Laureate Seamus Heaney was born.

He wrote extensively about bog bodies in his poetry.

The site is on the edge of Lough Beg, an extension of Lough Neagh and an internationally important bird sanctuary.

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Body found in Derry bog dates back to Bronze Age

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Experts say a body found in a bog in Co Derry dates back to the Bronze Age.