By the late 1970s photography and video had become established as legitimate artists’ media, coinciding with the expansion of a body of semiotic and cultural interrogations of the entire photographic apparatus. Contrary to claims of its documentary ‘truth’, it was argued that the photograph was subject to aesthetic and ideological manipulation at every stage from […]

Doherty has frequently stated that his work begins with the location, thereby responding to the perceptual field before engaging with a conceptual apparatus. Doherty’s choice of location has assiduously avoided dramatising Derry, preferring to depict the interstices of the city – unpopulated streets, blank façades, dimly lit underpasses, alleys and semi-rural waysides – unremarkable and […]