Sean O'Hagan's top 10 photography exhibitions of 2016Sean O'Hagan, The Guardian December 7, 2016
5. Eamonn Doyle: END.
The most-talked about show at the Arles photography festival was this radically staged installation, which presented Doyle’s vivid Dublin street portraits in a maze-like room... READ MORE
8. The Image As Question
An exhibition that explored the photograph as proof at a time when the uses of photography in art and on social media directly challenge or subvert that suddenly old-fashioned notion. Michael Hoppen, a passionate believer in photography as an art form... READ MORE
LIKE DOYLEGilles Renault, Special Envoy in Arles, Liberation July 27, 2016
Revealed the Rencontres d'Arles, the Irish deserter from the electro scene has a striking facility centered on passersby on the streets of Dublin.
"And the winner is ..." The Rencontres d'Arles establishes no record.But if that were the case, no doubt qu'Eamonn Doyle would have won the bet: Most Promising Actor, Best Director, Best Set Design, Best Original Score (yes, even for a photo exhibition, it is the size!)
The amazing street photography of Eamonn DoyleSean O'Hagan, Guardian Online July 24, 2016
For 20 years he hardly picked up his camera – now Martin Parr is a fan and the Beckett-inspired Dubliner is the talk of this summer’s Arles photography festival
Eamonn Doyle is an unlikely candidate for the title “saviour of street photography”. When he began photographing old people passing by his front door on Parnell Street in Dublin in 2011, it was the first time he had used a camera in more than 20 years. Now 47, he had graduated with a photography diploma in 1991, but “I hadn’t really taken any photographs or read any books about photography since I’d left college,” he says, “and I certainly wasn’t trying to reinvent the genre, because I really wasn’t aware of street photography except for a few 60s photographers like Garry Winogrand and Joel Meyerowitz that I’d read about back then.”
Les Rencontres d'Arles 2016 review – twin towers and sub-Saharan slumsThe Guardian, online July 12, 2016
The Arles photography festival has been in transition for several years, looking forward to the medium’s exciting but uncertain post-digital future while also looking back at its past. This year, there are homages to veterans such as Don McCullin, Sid Grossman and Peter Mitchell, but much more work that questions the very idea of old-fashioned observation.
One of the themes of this year’s festival is street photography, then and now. Irish photographer Eamonn Doyle creates a buzz with an installation that uses sound, drawing and design to emphasise the looming presence of his powerfully up-close and intimate photographs of Dublin people going about their daily business. Here, with every wall filled with images, some toweringly big, some gathered in grids, it is as if Doyle and his collaborators have created their own Dublin of the imagination – one the viewer has to negotiate from various different and often surprising perspectives, as if visiting a strange city for the first time.
Arles 2016 : Eamonn Doyle, End.l'Oeil de la photographie July 7, 2016
“End.” seeks out the driving forces of both photographer and subject in an exhibition that brings together three bodies of work—”i”, “ON” and “End.”—exploring the local streets of Doyle’s native Dublin. Though apparently the concluding work of a trilogy, “End.” actively opens up the heart of the whole. “i” presents unknowable street figures enveloped entirely in the interior landscape of their location. “ON”s black & white giants convulse across their own image, bracing the hard Dublin light. “End.” as a sequence of events revealing a city whose concrete is as plastic as the movement of its inhabitants. Created as both installation and publication, “End.” is a collaborative work by Eamonn Doyle, Niall Sweeney and David Donohoe. Built around the photographs of Doyle, it also features drawing and sound by Sweeney and Donohoe. - Niall Sweeney
“END” by Eamonn Doyle at Michael Hoppen Gallery in LondonPAROMA MUKHERJEE, BLOUIN ART INFO June 26, 2016
For most people, the street outside their house is just a road they use to navigate their journeys to and from home. But in the case of Irish photographer Eamonn Doyle, the street outside his home in central Dublin is his realm of exploration. After an engaged rereading of playwright Samuel Beckett’s works, Doyle decided to delve deep into what he was most familiar with and find within that, a range of photographic subjects that would reveal to him the street in all its poetry and starkness.
What to Buy at Photo London 2016Becky Poostchi-Pattenden, AnOther magazine May 20, 2016
Future heirlooms are to be found (and treasured) at this buzzed-about photographic fair
Twins by Eamonn Doyle
This self-taught photographer's work takes inspiration from two unexpected sources – the writing of Samuel Beckett and Doyle's perception that "it’s not what's said that’s intriguing, but what’s not". Collated in his book END (on sale here and a great compromise if the pounds don't stretch to a print), the pieces present a street view of Dublin’s pavement culture, documenting local characters and capturing their spirit from a distance.
Neighbourhood watch: Eamonn Doyle hones in on Dublin's streetsWALLPAPER* May 18, 2016
While photography has opened the door to exotic, far-flung locales, for some, inspiration hits a little closer to home. Take the Irish photographer Eamonn Doyle, who has had to look no further than his doorstep for his first solo London exhibition at Michael Hoppen Gallery, entitled ‘End.’ – the third and final chapter in a series of projects exploring the multi-cultural, working class area of north Dublin’s Parnell Street.
Born in Dublin in 1969, Doyle began photographing around the city centre in the late 1980s, before embarking on a hiatus a decade later in order to concentrate on music production. He returned to photography in 2008 after a reflective period of rediscovering Samuel Beckett’s writings.
In pictures: the W* photography desk's daily digest of visual inspirationWallpaper*
Until 15 July, London’s Michael Hoppen Gallery is hosting ‘End’, the third and final set of three collections of work created by Irish photographer Eamonn Doyle, and his first solo exhibition in London.
A depiction of modern day Dublin and its residents, the photographer explores the familiarity of Parnell Street in the city's northern districts, a working class and multi-cultural area wherein Doyle focused his lens upon the repetitive banality of everyday life. His images portray the long-beaten path of Dubliners in their environment; individually monotonous journeys unfolding like a series of maps to reveal the day-to-day goings-on at Doyle's doorstep.
In Dublin, a Photographer Turns His Lens on the StreetHATTIE CRISELL, Tmagazine April 26, 2016
Until two years ago, the photographer Eamonn Doyle, whose new work “End.” goes on show at London’s Michael Hoppen Gallery this May, was not known for his photographs. After graduating art college in 1991, he founded a record label and a festival in his native Dublin, immersing himself in the local music scene for almost 20 years. It was after the economic crash in 2008 that, feeling burned out and in need of a change, he bought a camera and began to photograph life on the streets around his home.