“It was shot in 1967 at the Duffy & Sons circus.” Tim Putnam of Partisan Records walks us through the hunt for a fitting photograph for Fontaines D.C.’s Dogrel.
“I’m dependably useless when it comes to visual ideas.” Singer/songwriter Mick Flannery and graphic designer Matt “Punchy” McQuaid talk about the process of creating the cover for Flannery’s self-titled sixth album.
Illustrator Conor Campbell talks about creating authentic medieval art on buses and at beaches for Junior Brother’s debut album Pull the Right Rope.
Jafaris explains how he and his videographer Nathan Barlow depicted his inner struggles in a visually engaging and innovative manner on the cover for Stride.
“Underneath it all is this quite old fashioned quest for something transcendental, something sublime, profound and meaningful.” We talk to Rob Doyle ahead of the release of his new novel, Threshold.
Maija Sofia discusses her inspirations and her collaborations with photographer Jilly McGrath while Emer Kiely talks us through the design process for Sofia’s debut album Bath Time.
Derek Jarman’s radical legacy as a painter, writer, set designer, gardener and political activist is explored in his largest retrospective to date.
Blending original and found materials, Michael Robinson creates collaged films exploring the emotional mechanics of popular media, the nature of heartache, and the instability of the reality we inhabit.
Basing the film around Jojo’s blinkered perspective allows Waititi to sidestep the most odious aspects of Hitler’s regime, letting him have his cake and eat it.
The street flower sellers of our city came under threat last month but they are resilient in more ways than their detractors may think. We talk to them about their role in the city, their favourite memories and their fears about what the city is becoming.
“What happens to poor people in this city wasn’t news yesterday, and it won’t be tomorrow.” Laura Rose (Gugu Mbatha-Raw) fights gentrification in Motherless Brooklyn, Edward Norton’s directorial adaptation of Jonathan Lethem’s 1999 novel.
When asked why he enjoys the medium of stone, Ellis calls it “unforgiving.” It might seem strange for someone to love something because of its severe qualities, but that’s very much the attraction for Jason Ellis.
Taken over a four-year period in different schools in Dublin, O’Neill has captured stark images of children going to school in the midst of austerity measures.
“Farmageddon is perfectly fine Sunday afternoon entertainment, but anyone expecting anything as transcendental as Wallace and Gromit is better off watching The Wrong Trousers for the 30th time.”
The new group exhibition in the Kerlin brings together works by a prestigious roster of artists on the theme of shadows.
Ray and Maureen make an odd couple straight out of some tired sitcom: she’s the elderly Dublin shopkeeper with a pessimistic streak; he’s the exuberant gay blow-in with a fancy café next door. We sandwich in between them.
Gaza certainly doesn’t romanticise conditions on the strip, but it also strives to put a human face on an area that is often considered a mere warzone.
A séance with William Butler Yeats at the Hellfire Club inform the latest work by Kendell Geers.