Since its beginnings in the early 1980s, Aosdβna, the affiliation of Irish artists, has had its critics. The idea of an artistic circle living in tax-free solidarity, convening occasionally to discuss cultural issues or to decide whether to admit a hopeful outsider to their club was never going to be popular in all quarters.

But the resignation last week of one of the organisation's higher-profile members, the novelist and Irish Times journalist John Banville, on the grounds that a younger, needier artist ought to be allocated his place, has raised significant questions about the role and the relevance of Aosdβna. Not the least of them is whether Banville relinquished his seat in vain; even the most prodigious of young writers still have to wait until their 30th birthdays to go through the elaborate hoops of Aosdβna's electoral procedure, in pursuit of the cnuas, the £8,000 annual stipend available to those who need it.

It seems there's a finely tuned art to getting in. On the evidence, it has eluded some of Ireland's most outstanding talents. Here, these artists offer their perspectives, revealing whether choice or circumstance has dictated their absence from Aosdβna's roll.

Belinda McKeon

Eavan Boland - Poet

I do feel glad for the sustenance has given to writers at various stages of their careers, but it is not something I would seek out. I received the documents when the first batch was sent out, in the early 1980s. I wasn't at that time, nor am I now, comfortable with the idea of belonging to something where there were exemptions involved. I would have thought, had a writer come forward with a book and looked for funding for two or three years, that there would have been a bridge between the writer and the community - the community buying time for the writer - but Aosdβna is not so clear. I would hate to see it disappear, though. The old age of writers like Patrick Kavanagh and Kate O'Brien would have been much more dignified had something like this been around.

Moya Cannon - Poet

I'm very pleased that Aosdβna is there. It's an honour and financial support. For me, the most important aspect is the financial support. To know that when you have reached a certain stage in your career - when you know that you are communicating with an audience - that there is financial support so you can give up full-time employment, which zaps you, and put your energies into your art. There are questions about self-perpetuating groups of all kinds. But if you were not to be assessed by a group of artists, who would you be assessed by?

Michael Collins - Novelist, living in Seattle

I didn't know about it until I looked at the website. For them not to make us aware of their existence leaves out a whole section. That they give out money is great. But it should be a democratic way of distributing, not an old-boy network.

Peter Collis - Painter

I don't really know or understand what the selection process is to become a member of Aosdβna. I never applied and I was never asked to join. It's like being told about a big party that you are not invited to. But I'm not offended by that. I work alone in my studio, and I just get on with it.

Peter Cunningham - Novelist

Seven years ago, I was encouraged by friends to seek membership of Aosdβna; I thought then it was a good idea, the money, but also the lively forum for meeting other artists. I left it too late to submit my application but came away with the feeling that this was a closed shop, self-serving. I didn't get much help; it was difficult to get information. Those that were in were keeping it very closely guarded. Now John Banville's move has made me think I made the right decision.

Shaun Davey - Composer and traditional musician

I applied many years ago, after The Brendan Voyage. It was very difficult to join at that time, the mid-1980s, and it all felt very cliquish. It was put to me that I hadn't done enough. I felt at the time that that wasn't true. It was embarrassing, and from that time I did not feel like reapplying. I was genuinely contemplating a career devoted to exploring serious music, and that degree of encouragement would have been very significant.

Remco de Fouw - Sculptor

I wouldn't consider myself a candidate for Aosdβna at present, because of the stage my career is at. It may be too soon. I should put more work out there first. Membership should, ideally, enable a vibrant and living arts world to keep working rather than operate as a pension scheme for those who did well in the past. It would be good if Aosdβna could give a helping hand to those entering the most productive stage of their careers. And, say, after 10 years they could leave.

John F. Deane - Writer and director of The Dedalus Press

Well, I'm not in it. I feel I should be. I was proposed several times, backed by people like Seamus Heaney and Paul Durcan. But I failed to get past the preliminary stage each time, three or four times. I have my suspicions as to why, and I think it was not for the right reasons. I wouldn't be too happy to be turned down again without explanation.

Donnacha Dennehy - Composer

This year, no composers at all got through, although five out of the 16 nominees were composers. Those who are in there already are a tiny group with no voting power. Getting in would mean a lot to me; it would give me the choice to think about devoting myself full-time to composition. The originality question, these are tough little distinctions I don't care for. I always tend to try and write stuff that has not been written before. You can see a great interpretive artist and it's completely original. It's to some extent a difficult thing to quantify.

David Farrell - Photographer

I haven't applied to Aosdβna as yet, partly because I am unsure of the process involved and partly because I was waiting until I got to a certain level in my practice. I would like the process of application to be more transparent. My main interest in being in Aosdβna is the cnuas and the amount of freedom that would give. I started to teach two years ago, which saved my bacon. Prior to that, I was freelancing, the physical and mental demands of which almost killed me.

Ronan Guilfoyle - Composer and jazz musician

Last week was my second time to be rejected. I'm not au fait with the make-up of it, but composers are definitely in the minority. There's the question of what's original and what's interpretive, and jazz is 90 per cent improvisation. According to the Aosdβna criteria, then, Miles Davis and John Coltrane would have been interpretive artists, which is ludicrous. I'm in good company, not getting in, but it would mean a lot.

James Hanley - Painter

I've always assumed that you have to be close to 40 to become a member of Aosdβna, and I am 36. Some people have encouraged me to start the process, as it's something that doesn't happen overnight. There is a kind of hierarchy to it, and you wait your turn. To be in Aosdβna is an accolade and an acknowledgment from your peers. It's highly sought after, and I'd be very proud to be in Aosdβna.

Brendan Kennelly - Poet

I never applied to become a member of Aosdβna. Somebody did suggest it to me, but I didn't go for it. I've always felt that I'm on my own as a writer, and I've always steered clear of groups. I think it's a good idea that writers get support, but there is a danger of politicking and getting in because of the people they know. On an unconscious or subconscious level, I might feel compromised.

Thomas Kinsella - Poet

I was invited early on but decided not to be a part of it. It was a matter of standards. When I saw the membership, I thought I would be standing for higher standards out of it rather than in it.

Hugh Leonard - Writer

I'm not a member by choice. And if I did ask to get in, they'd say no. I don't like the idea of authors en masse. An us-them attitude is created. And there are so many people in Aosdβna of whom I have never heard. The whole thing seems unforgivably political. If it's an academy for artists, they shouldn't have to go cap in hand and ask to belong. They should be asked. That thing of exclusivity and elitism I despise.

Eugene McCabe - Novelist and playwright

I've never applied. In the early days I thought I would be refused. The initial, appointed board was very considerable, and I thought there was no point. It's a wonderful thing, and I know lots who'd be on their uppers without it, but I didn't see really that I'd add much to it or be helpful. I'm 71 now and writing the odd sonnet; why would I apply unless I went completely bankrupt?

Colum McCann - Novelist, living in New York

Artists over here think it's an amazing thing. They're flabbergasted, see it as a democratic gesture. I think it's tremendous. But I'd be very apprehensive applying. I knew some people who have been rejected and who deserve it more than anyone. If it was a clear and non-political judgment procedure, and you didn't have to make waves, then I'd be fairly confident. But I am out of the loop.

Gary Mitchell - Playwright

I've never heard of it.

Gina Moxley - Writer and actress

I don't know much about the mechanics of getting in. I'd love to be in, but they're just not dying off fast enough! I think it's all very well to be an individual if you can exist on soap parings. Lots can't. I don't know how social it is, but to be in a community of other artists can't be a bad thing.

Jimmy Murphy - Playwright

I was up for election last week. That was my second time not to make it, so it's back to the drawing board. You're told it's hard to get in within the first two or three years, to keep trying, but it's such a broad canvas of people who might not know your work, you're hoping that the nominator can convey your worth. Sometimes you feel like a Fianna Fβil councillor trying to get votes. You just hope that if your work stands up on its own two feet, maybe they will vote for you.

╔il∅s N∅ Dhuibhne - Writer

I'd like to write full-time, but I haven't known whether I need to wait to be asked to come along and join the club. The process is very fair - members electing other members - but it puts demands on you, social as well as artistic. For a shy person it might be simpler if you could apply the way you apply for most other grants. It's difficult to approach people and embarrassing if they don't want to back you. I think it's something more obviously suited to writers who know other writers.

Hughie O'Donoghue - Painter

It's not something I feel particularly strongly about, but I'd rather not be in, and if nominated I think I would decline. I'm not critical of artists or writers who are members; I applaud the financial support but, personally, I wouldn't wish to be a member of this or any other artists' academy. The thing I need most as an artist is my independence.

Jamie O'Neill - Novelist

I think it's something for people with a much bigger body of work behind them. But I'd like it to be thought of as an honour system, that you'd be honoured by your country for your body of work. It should be something like the AcadΘmie Franτaise. The John Banville thing has really thrown a spanner in the works; you'd want Aosdβna to be something that recognises that a particular writer contributes to the culture of Ireland and should be a part of it. And it's a shame that any writer who doesn't need financial support should be excluded.

James Ryan - Novelist

My first novel was in 1996. I haven't applied, feeling relatively new. And when I saw that Mary Morrissy didn't make it - she's a highly acclaimed literary novelist - I thought it must be fairly tough going, a fairly rigorous entry system. That's what set my vision of how it works. That was my indicator of what kind of a standard you have to reach. Up to the founding of Aosdβna, the artist had lived in an atmosphere of censorship. When a body came along to recognise the artist, to give security, that was of enormous value. But I don't know whether that continues to be necessary, because the cultural and political climate has changed.

Paul Seawright - Photographer

Joining Aosdβna came up for discussion about a year ago, when I had an exhibition in the Kerlin Gallery, in Dublin. And the idea of trying to canvass someone to get a nomination didn't interest me. I am head of the centre for photographic research at the University of Wales, which is not something I'm going to give up. There are times when I take three to six months off to do something very particular, and getting funds for these projects is much more attractive to me. Most of the artists in Aosdβna are fairly successful, and some would sell one piece for £8,000 the value of the cnuas, which must be annoying for younger artists.

William Wall - Novelist

I have never thought of applying, because I had the impression it was for well-established writers with a much bigger body of work. I would prefer to be a member, because it has a lot of advantages; writing gives me only half a living, and as a member I could give up teaching part-time; the cnuas would make up the balance, give me artistic freedom. And it would be valuable to share ideas. But if it's going to occur spontaneously to a number of people in Aosdβna to nominate you, you'd have to have some contacts. And living in Cork, I'd have to go out of my way to make that happen. I think that the Dublin literary circle probably has it easier.

Niall Williams - Novelist

I've never been nominated, and it is not something I would think about. I don't know many other writers; I live in west Clare and just write away. I'm not engaged in any communal body of writers. Obviously, everyone writing would like to feel they're part of the writers of Ireland. But I understand that the method of getting in requires you to be nominated, to have contacts. And, for me, writing life is something you do alone, so it doesn't bring me into contact with people. Aosdβna is split between two ideas: the money and the kudos. And the two things have nothing in common.

In conversation with Belinda McKeon and Sylvia Thompson

Members of Aosdβna

Visual art Robert Ballagh, John Behan, Pauline Bewick, Cathal Black, Basil Blackshaw, Brian Bourke, Fergus Bourke, Cecily Brennan, Vincent Browne, Michael Bulfin, John Burke, Cathy Carman, James Coleman, Joe Comerford, Barrie Cooke, Maud Cotter, Dorothy Cross, William Crozier, Charles Cullen, Michael Cullen, Rosaleen Davey, Edward Delaney, Diarmuid Delargy, Willie Doherty, Micky Donnelly, Felim Egan, Conor Fallon, Mary FitzGerald, Tom FitzGerald, Marie Foley, Martin Gale, Richard Gorman, Tim Goulding, Patrick Graham, Patrick Hall, Alice Hanratty, Charles Harper, Eithne Jordan, Michael Kane, John Kelly, Brian King, Gene Lambert, Sonja Landweer, Louis le Brocquy, Melanie le Brocquy, Ciarβn Lennon, Anne Madden, Brian Maguire, Alice Maher, Louis Marcus, Stephen McKenna, Theo McNab, Sean McSweeney, Helen Moloney, Alfonso Lopez Monreal, Michael Mulcahy, Carolyn Mulholland, Janet Mullarney, Eil∅s O'Connell, Mick O'Dea, Gwen O'Dowd, Alannah O'Kelly, Tony O'Malley, Patrick O'Sullivan, Janet Pierce, Kathy Prendergast, Patrick Pye, Michael Quane, Bob Quinn, Vivienne Roche, Nigel Rolfe, James Scanlon, Patrick Scott, Dermot Seymour, David Shaw-Smith, Noel Sheridan, John Shinnors, Maria Simonds-Gooding, Camille Souter, Imogen Stuart, Rod Tuach, Charles Tyrrell, Barbara Warren, Michael Warren, Samuel Walsh, Nancy Wynne-Jones

Literature Leland Bardwell, Sebastian Barry, Dermot Bolger, Clare Boylan, Marina Carr, Ciaran Carson, Philip Casey, Harry Clifton, Michael Coady, Anthony Cronin, Tony Curtis, Margaretta d'Arcy, Michael Davitt, Seamus Deane, Neil Donnelly, Theo Dorgan, Paul Durcan, Bernard Farrell, Pβdraic Fiacc, Brian Friel, Patrick Galvin, Carlo GΘbler, Robert Greacen, Hugo Hamilton, Michael Harding, Dermot Healy, Seamus Heaney, Aidan Higgins, Rita Ann Higgins, Pearse Hutchinson, Jennifer Johnston, Neil Jordan, John B. Keane, Benedict Kiely, Thomas Kilroy, James Liddy, Michael Longley, Brian Lynch, Tom MacIntyre, Bernard MacLaverty, Deirdre Madden, Derek Mahon, Hugh Maxton, Thomas McCarthy, John McGahern, Medbh McGuckian , Frank McGuinness, Paula Meehan, John Montague, Paul Muldoon, Val Mulkerns, Richard Murphy, Tom Murphy, Eileβn N∅ Chuilleanβin, Nuala N∅ Dhomhnaill, Christopher Nolan, Jim Nolan, Edna O'Brien, Seβn O Coistealbha, Micheβl ╙ Conghaile, Ulick O'Connor, Julia O'Faolain, Cr∅ost≤ir ╙ Floinn, Desmond O'Grady, Mary O'Malley, Liam ╙ Muirthile, Cathal ╙ Searcaigh, Micheal O'Siadhail, James Plunkett, Tim Robinson, Gabriel Rosenstock, Sydney Bernard Smith, Matthew Sweeney, Colm T≤ib∅n, William Trevor, Macdara Woods, Vincent Woods

Music Gerald Barry, Se≤irse Bodley, John Buckley, Frank Corcoran, Raymond Deane, Jerome de Bromhead, Roger Doyle, Eibhlis Farrell, Michael Holohan, Fergus Johnston, John Kinsella, Philip Martin, Kevin O'Connell, Jane O'Leary, Eric Sweeney, Ian Wilson, James Wilson

Elected last week

Visual art Sean Scully, Nick Miller, Fergus Martin, Tom Fitzgerald, Mary Lohan Literature Evelyn Conlon, Anne Haverty, Ita Daly, Mary O'Donnell, Adrian Kenny

See www.artscouncil.ie/aosdana