Ghostly traces of a Joycean city and people emerge as if from a palimpsest in Patrick Donald’s views of Dubliners, writes Stephanie McBride
The emerging technologies of photography and cinema infused James Joyce’s work. Besides establishing Dublin’s first cinema, the Volta in 1909, he inserted fictional photographs as repositories of memory into three stories in Dubliners – a landmark in literary modernist style and in visualising his city. Allusions to photography abound in Ulysses and Finnegans Wake from Bloom’s Hungarian ancestry having a daguerreotype studio in Budapest, to his daughter Milly working as a photographer. Joyce presents his Dublin stories as word-based daguerreotypes, with the intense, focused close-up of a photograph.
With the recent passing of Ronald Tallon, Seán Ó Laoire reflects on the end of an era and remembers Michael Scott, founder and charismatic figurehead of Scott Tallon Walker
Catherine Marshall assesses the unwavering artistic journey of Maria Simonds-Gooding in advance of her retrospective in Dublin
The class of 2014 is looking anew to the tangible joys of creativity, in contrast to its documentation, writes Gerry Walker of the trends emerging from this year’s graduate shows.