One of my photographs was shown at an exhibition of Street Photography at the Sol Art Gallery, Dawson Street, Dublin 2 (www.Sol.ie) 14th – 27th August 2015.
a. “Will the biggest Shed in the world be in Portlaoise?”
b. “Play matters to Paul, so he made sure to make the most of it in his school”
2. Photo essay for ChangeX Facebook page: “The ChangeX Meetup. A guide in pictures.”
3. Blog written for ChangeX on photography: “Telling the stories of Ireland’s changemakers through photography”
On Saturday June 6th I attended the ‘Stan Douglas: Mise en Scène’ Exhibition at the Irish Museum of Modern Art (IMMA). Douglas uses reconstructed or staged scenes in much of his photographic work and therefore this exhibition was especially relevant because I’m at the moment completing Assignment #5 of ‘Context and Narrative’: creating a staged photograph.
Also on that day I attended the hour-long conversation between Stan Douglas and Seamus Kealy (exhibition curator) who discussed the exhibition. A recording of the conversation is available online.
A comprehensive catalogue of the exhibition was available.
On May 14th an exhibition by photographer Kim Haughton ‘In Plain Sight – an installation about the legacy of child abuse in Ireland’ was opened in the Gallery of Photography, Dublin (Haughton, 2015). At the opening event the Gallery’s co-director Tanya Kiang (Gallery of Photography, 2015) introduced the artist to an assembled audience. Some of the people who Kim had photographed in the course of the project, survivors of child sexual abuse, were also present and spoke about their participation in the project and what it meant to them.
The catalogue accompanying the exhibition states:
In Plain Sight is a powerful and moving exhibition about the legacy of child abuse in Ireland. Made in collaboration with survivors, it is an important and timely challenge to the silence that still surrounds the issue.
The exhibition brings together landscape and portrait photography, family snapshots and audio recordings of survivors’ testimonies. Here, in their own words, survivors recount their stories of love, loss, injustice and forgiveness. Some survivors are photographed revisiting the locations where the abuse took place. These seemingly benign landscapes depict the mundane places of any Irish childhood. Now, however, irrevocably transformed into crime scenes and places of terror, they confront the viewer, raising uncomfortable questions of complicity and guilt and evoke powerful emotions of compassion, admiration, anger and outrage (Gallery of Photography, 2015a).
Kim recounted how the work began following a chance encounter with a man wearing devil horns and a priest’s collar outside a cathedral in Dublin. A victim of child abuse he was protesting about the lack of official investigation and response to the scandal. There followed a four year project in which she photographed in places throughout Ireland.
In the course of the discussion with the audience at the opening event the question was raised as to whether the photographs would stand as a monument to the victims of child abuse in Ireland; this is very relevant because attempts to make a more conventional monument have ended in controversy and rancour (Kelly, 2013).
This year Kim Haughton was named by TIME magazine as one of ‘nine Irish photographers to follow’ (Conway, 2015).
The exhibition continues at the Gallery of Photography, Dublin until May 31st 2015.
Images from the exhibition can be seen here:
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To mark the opening of the exhibition ‘Prix Pictet – Consumption’ (Saturday 4 April – Sunday 10 May 2015), the Gallery of Photography, Dublin, hosted a talk with Michael Benson, Director, Prix Pictet on Thursday 9th April 2015 which I attended.
This photography exhibition takes a look at life in the Five Lamps area of Dublin over the course of the last year.
Irish Museum of Modern Art (IMMA)
Sunday 9 November, 2pm – 3pm
To mark the final day of the exhibition ‘Second Sight – The David Kronn Photography Collection’ (IMMA, s.d) Brett Rogers (Director of the Photographers’ Gallery, London and OBE) discussed her curatorial interests in photography practice today.
Rogers surveyed her top photography shows that have set the agenda for photography curating today. The exhibitions discussed occurred between the dates 1942 to 2003 i.e. from ‘Road to Victory: A Procession of Photographs of the Nation at War’ (1942) curated by Edward Steichen at the Museum of Modern Art in New York, to ‘Cruel and Tender: The real in the twentieth century photograph’ (2003), the Tate’s first major exhibition dedicated to photography. Also discussed was John Szarkowski’s time as curator of photography at the Museum of Modern Art in New York and in particular his two shows ‘New Documents’ (1967) and ‘Mirrors and Windows’ (1978); Edward Steichen’s ‘Family of Man’ (1955) exhibition also figured prominently. Afterwards there was a lively discussion with the audience where among the topics raised was the difference between curating for a museum (which possessed a permanent collection) and a gallery exhibition. The conclusion of the lecture was followed by the official launch of the catalogue ‘Second Sight. The David Kronn Collection’ (IMMA, 2014).
IMMA (s.d) Second Sight: The David Kronn Photography Collection [online] At: http://www.imma.ie/en/page_236842.htm (Accessed on 10.11.14)
IMMA (2014) Second Sight. The David Kronn Collection. Dublin: Irish Museum of Modern Art
Friday September 19th was ‘Culture Night 2014’ and in the Gallery of Photography, Dublin at 7 pm there was an Artist’s Talk on the current exhibition at the gallery. This exhibition is the ‘University of Ulster MFA Graduate Exhibition 2014’ (MFAphotoshow14, 2014) and runs from 6th – 21st September. On Friday night the artist Simon Burch introduced the work of the artists on show and discussed his own individual body of work.
Simon Burch addressed the work on show at the gallery from several perspectives. The first was from Stephen Shore’s idea of ‘the frame’, ‘choosing the moment’ and ‘a plane of focus’ (Shore, 2007). For example Tim Durham’s ‘After the Fact’ (Durham, 2014) comprising a series of silhouettes was considered to challenge the concept of a plane of focus.
Another perspective discussed was that of John Szarkowski in his essay ‘Mirrors and Windows’ (Szarkowski, 1978). Here Jim McKeever ‘dead time’ (McKeever, 2014) was considered to lie at the ‘window’ end of the spectrum while Bernard McNichol’s ‘Empty Portraits of Home’ (McNichol, 2014) lay towards the ‘mirror’ end.
The speaker Simon Burch’s work ‘Prospect’ considers how the landscape is viewed (Burch, 2014). There are no people in these photographs and Simon quoted Ansel Adams on landscape photography: ‘There are always two people in every picture: the photographer and the viewer’.
Finally Simon noted Kenneth O’Halloran’s (O’Halloran, 2014) work ‘The Handball Alley’ which was described as ‘conceptual photography’, a description which applied to much contemporary practice.
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