Fiona Kearney assesses the artistic achievement of photographer and cleric Frank Browne, whose work is on view at Farmleigh Gallery, Dublin throughout December
David H Davison appraised the award-winning technoqie of pioneering photographer William Despard Hemphill ahead od a dual exhibition this summer
Margarita Cappock explores the nature of the intense and complicated friendship of Francis Bacon and Lucian Freud
Revolutionary Ireland is a fine culmination to George Morrison’s distinguished career as a documentarist, writes Bob Quinn in his assessment of the renowned filmmaker’s latest achievement
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Eleanor Flegg examines Peter Rowen’s portraits of Irish designer-makers at work, currently on view at Dublin Airport to celebrate ID2015
Skellig cannot be seen primarily as a commercial commodity without significant diminution of its unique character, writes Paddy Bushe.
Stephanie McBride examines a collaborative photographic project that artfully captures the bravado and vulnerability of being seventeen
Stephanie McBride examines the aesthetic of photographer David Farrell whose method of revisiting his subjects and themes allows for a sustained critical engagement
In his seventieth year, John Minihan is still seeking the transient moment of creation, writes Fiona Kearney, as she reflects on his recent portfolio
While working as an intern at the NPA Mike Bors gained access to a remarkable collection created by talented amatuer, Sir Robert Ball, astromoner and scientific adviser to the Commissioners of Irish Lights
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.
Kim Haughton’s portraits, on view now at the National Museum Collins Barracks, reflect on Ireland’s multi-layered society at the end of the first century of this nation state, writes Stephanie McBride
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workers, Augusta Caroline Dillon of Clonbrock House, Co Galway, seemed presciently aware that her images would become historical document, writes Christiaan Corlett.
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.
Ghostly traces of a Joycean city and people emerge as if from a palimpsest in Patrick Donald’s views of Dubliners, writes Stephanie McBride
