From the Summer 2016 edition: In recording the traditional attire of female estate workers, Augusta Caroline Dillon of Clonbrock House, Co Galway, seemed presciently aware that her images would become historical document, writes Christiaan Corlett.
Kim Haughton’s portraits reflect on Ireland’s multi-layered society at the end of the first century of this nation state, writes Stephanie McBride
From the Autumn 2016 edition: Stephanie McBride welcomes the reissue of Dublin: The Heart of the City characterized by Brendan Walsh’s elegantly composed black and white photography with essays by Ronan Sheehan.
Stephanie McBride examines a collaborative photographic project that artfully captures the bravado and vulnerability of being seventeen
From IAR Archive: Michael Nolan’s images of a present-day meitheal invoke much older notions of kinship and identity, writes Stephanie McBride of the photographer’s festival sketches.
From the IAR Archive: Fiona Kearney reflects on Jeanette Lowe’s work, which paints an intimate portrait of the residents both past and present of Pearse House Dublin
From IAR Autumn Edition: Eamonn Doyle has been lauded for his original contribution to street photography as seen in his first book ‘I’. Now with a second title, ‘On’ just launched, Ros Kavanagh gives an analysis of his method.
From IAR Archive: Stephanie McBride views the plan and process of an angel’s journey in Amelia Stein’s studies of Imogen Stuart’s studio.
From the IAR Archive: Ghostly traces of a Joycean city and people emerge as if from a palimpsest in Patrick Donald’s views of Dubliners, writes Stephanie McBride.
From the IAR Archive: Elizabeth Kirwan looks at Gerry Andrews’ magisterial series tracing the activities of Limerick’s Milk Market