Stephanie McBride reflects on the extraordinary life’s work of Arthur Fields, the last of the street photographers
The V&A’s ‘Memory Palace’ exhibition in London in 2013, based on Hari Kunzru’s novella, presented a world after the ravages of a magnetic storm, in which all recording and collecting are banned, and acts of remembering become acts of resistance. In such a dystopia, Ciarán Deeney and David Clarke, co-ordinators of the Man on the Bridge project, would likely be jailed as rebels, given their extraordinary act of amassing thousands of old images and stories.
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