Michael Waldron

A woman stands with her eyes closed and her arms upraised, there is a purple tint to the image which is a still from Kialy Tihngang's 'Neyinka and the Silver Gong' (2024).

A small boulder is on the slope of a hill in a rugged landscape; the bouler has blue, human eyes that are looking at the camera and the closed captions at the bottom of the image say 'And it just happens to be the complete works of Barry Manilow'. The image is a still from Elinor O'Donovan's 'Wild Geese 2: Wilder Geese' (2023).

A still from Anette Gellein's 'Dyke Dreams' (2024), showing a woman off to the right of the screen, looking away towards the left while a partially translucent image of her is imposed, looking towards the audience.

📽️Tonight is the last screening for AFI’25, which means it is also your last chance to see ‘Wild Geese 2: Wilder Geese’ by Cork artist Elinor O'Donovan along with four other short films by renowned international artists! The screening is free, and held at @arccinema.bsky.social Cork.

Swoon! What a gorgeous ray of hope and joy. Also love the juxtaposition of exuberant Diwali and solemn Neoclassicism.

What a tremendous day of research and thought shared by fellow speakers Colin Rynne, John Kelly, Alicia St Leger, Niall Tubridy, Fionán O'Connor, and John Teeling. Big thanks to Dagmar Ó Riain-Raedel and all at Youghal Celebrates History!

Brilliant talk on 200 years of Midleton Distillery by @cqcork.bsky.social. Fascinating insights into business, agricultural, and social history!

Excited to be attending the Youghal Celebrates History conference today, which has a distinctly distilled theme!

My talk, “Uisge Beatha”, focuses on #HarryClarke’s illustrations for two John Jameson & Son trade booklets, The History of a Great House (1924) and Elixir of Life (1925). Sláinte 🥃

Projected cost of Indaver Ringaskiddy incinerator rises to €200m | BreakingNews That is according to a raft of new planning documents lodged with An Coimisúin Pleanála as Indaver Ireland is looking to advance the long-running project.

It beggars belief this project is raising its head again, not least because the site is wholly unsuitable (rapid erosion at Gobby Beach; site of a rare Martello Tower and historic right of way) and further impacts on an already put-upon Ringaskiddy community.

www.breakingnews.ie/ireland/proj...

Opinion: If the State is serious about the Irish language, it's reasonable to expect the President to speak it A sincere commitment to the Irish language is essential for the President, write Professor Laura Cahillane and Dr Seán Ó Conaill.

Only one candidate has the linguistic and legal acumen to support their fulfilment of the Presidency: Catherine Connolly.

The other pledged to “squeeze in” some Irish lessons 11 years ago when Minister for the Gaeltacht (2014-17) but didn’t: Heather Humphreys.

www.thejournal.ie/readme/gaeil...

One of three paintings I’d consider using for the cover of Elizabeth Bowen’s To the North given half a chance!

Farewell Drew Struzan, designer of movie posters – from The Goonies and Back to the Future to Indiana Jones and Blade Runner – that signified such anticipation and excitement in my childhood… and now.

www.theguardian.com/film/2025/oc...

A still from Amanda Coogan’s work The Wren, showing a mysterious figure standing half-hidden amongst trees and flowering brush. The figure is wearing a mask of tights over their head, with holes cut for their eyes, and an elaborate garment with hanging ribbons of many different styles of fabrics.

Crawford Art Gallery is delighted to join Creative Bandon for this year’s Bandon Banshee Festival with artist Amanda Coogan!

🗓️ 1 Nov, 2pm: Artist Talk @ Bandon Library (Free, no booking)
🗓️ 2 Nov, 10am–5pm: Free Masterclass @ Bandon Town Hall (Free, email to book: creativebandon@gmail.com)

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#TodayInQueerHistory
October 14 (1994)
Priscilla, Queen of the Desert rides forth, making her theatrical debut in the UK #OTD.
The beloved film is based on the adventures of 3 real life queens, Lady Bump, Strykermyer and Cindy Pastel.
The film won an Oscar for best costume design.

Catherine Connolly Was There for Artists When It Mattered – Heather Humphreys Was Not Heather Humphreys is a former Minister for Arts who made a serious funding misjudgement during her tenure; Catherine Connolly’s support for artists offers a contrast, writes Toner Quinn.

// Catherine Connolly Was There for Artists When It Mattered – Heather Humphreys Was Not // bit.ly/476RdnF

Heather Humphreys is a former Minister for Arts who made a serious funding misjudgement during her tenure; Catherine Connolly’s support for artists offers a contrast, writes Toner Quinn.

Meet the woman bringing art to Cork’s St Fin Barre’s Cathedral Art curators are not often seen in churches in Ireland, so Orla O’Byrne’s new role as art curator at St Fin Barre’s Cathedral in Cork is quite novel. ...

The very brilliant Orla O’Byrne talks about artists’ books, cathedral curation, music, and sculpture maquettes!

Meet the woman bringing art to Cork’s St Fin Barre’s Cathedral
www.echolive.ie/wow/arid-417...

A figure with vibrant, cosmic painting on his face and a bright red hair, stands just in front of the camera, looking off to the right with a look of concentration or contemplation; behind the figure is a long set of stairs in a large, temple or fortress-looking building that is a bit worn down and aged looking. The still is from ‘The Fortress’ (2024) by Sin Wai Kin.

Three women are on individual, circle raised platforms, spread out in a triangle formation, in a partially-dry river bed that runs through tall sand dunes. The still is from Melisa Zulberti’s ‘Sobre si mismo (About itself)’ (2023).

A still taken from Elinor O’Donovan’s ‘Wild Geese 2: Wilder Geese’ (2023), showing a rocky landscape over small hills, leading to a small village on the edge of a vast river, fjord, or lake, with tall, snowy mountains rising out of the banks on the opposite side of the water; a caption at the bottom reads ‘over and over, the world announces our place.’

The second screening of Artists’ Film International 2025 starts tonight at 18:30 at @arccinema.bsky.social, with 6 short films by international artists, including Cork’s own Elinor O'Donovan.
This screening will showcase films from:
India, Italy, USA, Ireland, England & Argentina
#CrawfordArtGallery

Cornelis van Poelenburgh The Arch of Septimus Severus, Rome, 1623 A slightly unusual angle on this monument. (The J. Paul Getty Museum, Los Angeles)

Harry Clarke’s ink illustration for Ligeia (“I would call aloud upon her name”) has been @crawfordartgallery.bsky.social since 1924. The collection also features illustrations for The Pit and the Pendulum, The Mystery of Marie Rogêt, The Fall of the House of Usher, and The Colloquy of Monos and Una.

This new film, produced by @molimuseum.bsky.social features passages read from Oscar Wilde's De Profundis by a host of LGBTQ+ writers, artists and activists.

Presented as part of Oscariana: A Wilde Dublin Festival.

📆 Thu 16th
⏰ 18.30
🎟 https://ifi.ie/film/ifi-moli-oscariana-de-profundis/

Bottom corner of a 17th century book showing drawings

Title page of 'Epigrammes' by Ben Jonson, showing doodles at the bottom of the page

Delightful doodles of some pipe smoking Georgians found by Maddock Fellow Danielle Magnusson on the works of Ben Jonson, printed in 1616 #Readers #Epigrams

'The Café Royal', Regent Street (1915–16) by Adrian Allinson

(Private collection)

Statement by President Michael D. Higgins on the death of Manchán Magan president.ie/en/media-lib...

Manchán Magan 1970 - 2025 💔

Craoltóir, scríbhneoir agus Gael. Ní bheidh a leithéid arís ann.

Thar na blianta, chruthaigh sé & chuir sé i láthair an t-uafás cláracha do TnaG & TG4. Tá oidhreacht shaibhir fágtha aige dúinn a thabharfaidh inspioráid don chéad ghlúin eile 🕯️
🔗 www.tg4.ie

Manchán Magan

Is briseadh mór croí dom an scéal a chloisteáil faoi bhás Mhanchán Magan ar maidin. Thug sé beocht agus brí nua don teanga trína chuid oibre ag léiriú gur lionsa eile í an Ghaeilge leis an domhan a fheiceáil agus a thuiscint.

A pastel on paper painting, showing a woman in an elaborate, headdress and costume, with bright, vivid colours, and fabric cascading from her headpiece onto and across her chest.

Today is #WorldBalletDay, so we’re taking a moment to celebrate this work by Marshall Hutson – a portrait of the celebrated Irish ballet dancer, teacher, and choreographer Joan Denise Moriarty (c.1912-1992). She founded the Cork Ballet Company, Irish Theatre Ballet, and... (1/3)

Thinking of my late colleague, Margaret Kenneally, and her family today as she takes her final rest.

It’s fitting that after decades of service in the gallery, her funeral was watched over by Séamus Murphy and Harry Clarke Studios artworks. I’ll miss her warm, kind presence.

rip.ie/death-notice...

A group of five historic lace objects with intricate motifs; the one on top is a diamond shape with detailed borders, a pattern of small flowers, and then a large flower in the center; the one below is a delicate, small butterfly with dots on its wings and even little antennae on its head; next is a small circle with scalloped edging and a star in the centre; below that is a lace collar with a pattern of three-leafed plants, and then star-shapped flowers below that, with large scalloping on the borders of the collar; last is a square piece with geometric patterns – circles surrounded by square borders, repeating, and the middle of the piece is divided into four quadrants with geometric flowers in the center of each. All are from the 1600s.

A rectangle of lace/crochet sample, that would have been used as a border; the pattern very earthy, with large leaves, trims, and woven, interconnecting vines; the border of the piece is irregular, shaped only by the leaves and flowers themselves, rather than having a strict or controlled boundary that the pattern then sits within. The piece dates from around 1900.

A delicate lace cap from the 1700s, made by needlepoint and featuring patterns of vines, different types of flowers, and leaves.

A rectangle of lace sample, dating from around 1640-1650, with intricate, elegant patterns in swooping motions that are reminiscent of fluer de lis. The work is bolder and with thicker lines than is often scene on lace, but still delicate; the sample was made via needlepoint and would have been part of the trim on the front of a lady’s dress.

Happy #InternationalLaceDay!
Did you know we have 430 lace patterns in our collection? For centuries, lacemaking gave both rural and urban women some economic independence and was an important aspect of society. Which of these historic laces is your favourite? Let us know!

#CrawfordArtGallery

10 Years On: Reflecting on Art & Marriage Equality

Comhghairdeas mór to all of the speakers and organisers (Kate Drinane, Seán Kissane) on a brilliant day of reflections and perspectives. Tuning in online was a privilege, but oh to have been in the room!

Le grá 🏳️‍🌈💜🏳️‍⚧️

@nationalgalleryirl.bsky.social

🤣🐐🍑

A fallen Faun, pushing themself back up with one hand. Their panpipes and amphora have scattered in the drunken chaos

You know those photos from messy nights out that look like art?
Here's an art that looks like a messy night out! 😁👍🏛️🍑 #MuseumBums

The Drunken Faun, 1826, by John Hogan, from @crawfordartgallery.bsky.social 😁

Can museums really give power to the people? The National Gallery is the latest UK arts institution to announce a citizens’ assembly. Conrad Landin wonders what’s really involved

‘Could the citizens’ assembly help the National Gallery navigate certain confrontations and gain a clearer sense of what the public expects of it?’ Conrad Landin asks whether museums can really give power to the people and what that might look like