Stephanie McBride examines the startling imagery of Richard Mosse who has made infrared film his signature medium
Irish photographer Richard Mosse has described the camera’s lens as ‘brutally dumb’. He has been accused of frivolity by photojournalists and his art practice has taken him through postwar ruins, from the occupied palaces of Saddam Hussein to remote, barren landscapes to photograph the sculptural wreckage of air disasters.
Mosse is a recipient of Guggenheim and Leonore Annenberg Fellowships, and his work is clearly informed by his background in Cultural Studies before completing an MFA in Photography at Yale. In his practice he is acutely aware of the tensions between photography’s positivist traditions and his drive to address the more abstract conditions and consequences of history and conflict.
From a rural setting in County Antrim, Basil Blackshaw has contributed a new chapter to the story of Irish art, writes Brian Fallon as the retrospective at the F E McWilliam Gallery marking Blackshaw’s 80th birthday continues.
Frederick O’Dwyer follows the evidence to unearth the design sources for Dublin Airport’s original terminal at Collinstown
Patrick T Murphy traces the career path of sculptor Eilís O’Connell who was chosen as the winner of a limited competition to design a new sculpture for TCD