Built around his photographs of everyday life in his home city, Eamonn Doyle’s multisensory and expansive works show the unlimited creative power of friendship and collaboration
From the bustling cities in the work of Eamonn Doyle and Guy Tillim, to Mark Power’s survey of decaying American landscapes, and a collaboration between Clémentine Schneidermann, Charlotte James, and a group of children in South Wales – this month’s issue is dedicated to the idea of the street as a site of theatre and historical spectacle.
Would you want Martin Parr to take your portrait? You might say its a brave soul who goes in front of his penetrating lens, but it’s part of a portfolio of benefits the Martin Parr Foundation is launching in its Membership Scheme.
Parr set up the Bristol-based Foundation in 2014 to house his archive, but in October 2017 it opened to the public in a purpose-built space, offering free access to much more – a rolling programme of exhibitions, a large photobook library, and a growing collection of prints. Parr’s used the opportunity to hone in on British and Irish photographers, as well as work taken in the British Isles by others, and put the focus on their documentary work – an area which he believes is still underrated.
As of 2019, Nadia Arroyo will be the new cultural director at Fundación MAPFRE in Madrid. She will be replacing Pablo Jiménez Burillo, who announced at a press meeting last week that he would be retiring after 30 years and over 500 curated exhibitions at the museum.
Jiménez was the first to bring a permanent exhibition space for photography to the museum, and championed the once-undervalued world of nineteenth century Spanish painting, bringing the gallery to the forefront of the art world in Spain. Arroyo is currently Head of Exhibitions at the Fundación MAPFRE.
Eamonn Doyle has photographed O’Connell Street, the longest thoroughfare in Dublin, for most of his life. But he needed Samuel Beckett to understand it. “I was obsessed with Beckett when I started taking these photos,” Doyle says of the Dublin-born novelist. “Beckett understands Dublin, but he strips away the context of his characters. I was deep in that mindset, so I started taking photographs that pares everything back.” The project started with a shot from behind; a solitary woman covered by an ornate head-scarf and powder-purple coat, shot close-up with her face hidden from view. Doyle realised then that street photography is possible from another angle. “The older face is such a loaded cliché in this sort of photography,” he says. “With Beckett’s writing, it’s not what said that’s intriguing, but what’s not. I wondered whether you can apply that to photography.” Although unknown in photography circles, Doyle is a bit of a local celebrity; the founder of the Dublin Electronic Arts Festival, he has run a recording studio and a couple of record labels …