EDITORIAL:
Issue 28 — Autumn 2001
Issue 28 — Autumn 2001
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In 1999, searches began at locations in Louth, Monaghan, Meath and Wicklow, specified by the IRA as burial places for nine people they murdered in the 70s. In his new work David Farrell has produced a series of images exploring these sites. The work is introduced by Steven Canny. In 1999 he worked with Theatre de Complicite on Mnemonic a piece which had as its starting point the discovery of the body of a stone-aged man in the Alps. Canny makes a connection between the isolated tragedies of the deaths and how they live on in our imaginations.
Susan McKay, author of Northern Protestants: An Unsettled People, which examined the psyche of the Protestant community, has met with Gareth McConnell in Carrickfergus to discover the background to his portraits of Loyalists taken there. Suzanne O'Shea, on examining McConnell's work, endeavours to look beyond their political reference, identifying a power they possess to 'provoke a spirit of curiosity and fascinated interest in the viewer' that makes them art.
June witnessed the closure of Creative Camera, latterly Dpict, one of the cornerstones of photography in Britain for the last thirty years. Its editor David Brittain puts the case for independent photographic magazines as an alternative to the conservatism of gallery fed art magazines and the predictability of the mass media.
That same media is scrutinised by Ronan Deazley. He questions what rights newspapers or picture agencies have to publish or trade in 'collect' pictures; those given to the press by families or the police. He explains that the law of copyright would make claims to be able to sell the rights to these images questionable and asks if the press are really acting in the 'public interest'.
From October Source will be holding a regular series of portfolio days in Britain. These will initially be hosted in Glasgow, Cardiff and London, in addition to those in Dublin and Belfast (see dates and details below). This will extend the network of photographers and artists that we engage with directly. This process will be complemented by reviews of key exhibitions from across Britain starting in the December issue.
— Editors