Stephanie McBride draws parallels between recent photography and new works on video by Anthony Haughey to be shown at Limerick City Gallery of Art
Achill’s desolate beauty has inspired many Irish artists, not least Linda Brownlee who has captured the island’s youth caught between land, sea and sky, writes Stephanie McBride
Stephanie McBride examines a collaborative photographic project that artfully captures the bravado and vulnerability of being seventeen
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
Eamonn Doyle’s portraits of Dubliners are unposed, untroubled by vanity and full of momentum, writes Stephanie McBride
Stephanie McBride reflects on the extraordinary life’s work of Arthur Fields, the last of the street photographers
Stephanie McBride examines the aesthetic of photographer David Farrell whose method of revisiting his subjects and themes allows for a sustained critical engagement
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
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.
Stephanie McBride talks to Mike Bunn about the craft of old school photography and his plans to establish an academy for photographers
Ahead of Dragana Jurisic’s solo show at the RHA in September we republish Stephanie McBride’s examination of the photographer’s 2011 show at the Droichead Arts Centre, studies of urban survival taken during the Celtic Tiger years, revealing Ireland’s struggling society.
Northern Ireland: 30 Years of Photography at Belfast Exposed and the MAC this summer highlights the medium as a highly-charged, critical artform that constantly questions its own role in the construction of memories, writes Stephanie McBride
Stephanie McBride examines the startling imagery of Richard Mosse who has made infrared film his signature medium