New from the Autumn 2020 edition. James Fraher’s black-and-white images of Derrinlough Briquette Factory document the manufacturing process, from gathering the turf to the distribution of the polished bales, writes Stephanie McBride
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New from the Autumn 2020 edition. The collection of 19th century stereo negatives of the Gap Girls of Dunloe in Kerry comprise a rare and unique body of work, writes Julian Campbell Read More
New from the Spring 2020 edition. In a world where the analogue is routinely discarded, Aoife Shanahan’s explorations invite us to look more closely and more intensely at the image, writes Stephanie McBride Read More
New from the Winter 2019 edition. Roseanne Lynch’s images are an engagement with the act of seeing and the experience of light and space, writes Sarah Kelleher Read More
New from the Autumn 2019 edition. Using satellite imaging, photographer David Thomas Smith echoes the Arecibo radio message transmitted into deep space forty-five years ago, writes Stephanie McBride Read More
New from the Summer 2019 edition. For young girls, especially, learning how to control their appearance can feel like a survival tactic, photographer Eva O’Leary tells Richard Mosse Read More
New from the Spring 2019 edition. Eamonn Doyle’s portraits of Dubliners are unposed, untroubled by vanity and full of momentum, writes Stephanie McBride
New from the Winter 2018 edition. Matthew Thompson’s portfolio of fine art students forms a vivid picture of the day-to-day creative process, writes Stephanie McBride Read More
New from the Autumn 2018 edition. While the patterns set by drystone walls on Inishmore present a harmonious picture of land and occupant, Daragh Muldowney’s overarching concern is for the planet, writes Stephanie McBride Read More
From the IAR Archive Stephanie McBride examines a collaborative photographic project that artfully captures the bravado and vulnerability of being seventeen Read More
