Murmur Summer, 2017, Issue 02 by MURMUR

INTERNATIONAL Summer Catalogue 2017, Issue No.2

#ART4WTC

GALLERY IN THE SKY Street Artists of the

WORLD TRADE CENTRE Zimer and Layer Cake on the 69th Floor

PHOTOGRAPHY SPECIAL SEÁN HILLEN / SHANE LYNAM’S ‘FIFTY HIGH SEASONS’ / KENNETH O’HALLORAN / ITALIA ‘90 REMEMBERED / EYES WIDE OPEN: JOE WOOLHEAD’S NEW YORK STORY www.murmur.ie

INTERNATIONAL

(Inside front cover) Photograph adapted from Gregory Dunn’s ‘Here: A Photographic Journey’ (Below) The ladies restroom on the 69th floor at 4 World trade Centre, New York City, photographed by Joe Woolhead.

MURMUR INTERNATIONAL, SUMMER 2017

MURMUR / INTERNATIONAL / SUMMER 2017 / NO. 2 06. STICKIN’ IT TO THE MAN ‘Bing, Bing, Bong, Bong, Bing, Bing, Bing: Why America Gives Donald Trump The Finger’ is a new book that documents the visceral reaction of Americans to the Trump Hollywood star. 20. SEAN’S WORLD We pop a cork (or two) with the master of the surreal photo montage at his home studio in Dublin. 28. HOLIDAYS IN THE SUN Irish photographer Shane Lynam’s new book documenting quirky and unusual 1960’s holiday resorts in the South of France gets Kickstarter funding. 38. A BUSLOAD OF FAITH A new book from Café Royal publishers unearths a fascinating collection of photographs by Tony O’Shea taken from the ‘Team Bus’ during Rep of Ireland’s Italia ‘90 homecoming celebrations. 50. COVER STORY: GALLERY IN THE SKY Things are not as they seem at 4 world trade centre, new york city. Sean Sullivan, aka layer Cake, and Zimer talk to Murmur about how a collective brought the streets up to Floor 69. 58. EYES WIDE OPEN Irish photographer Joe Woolhead has been a resident of new york city for over 27 years. Here he shares his journey in pictures from 9/11, Ground Zero to Number 4 World Trade Centre in Lower Manhattan. Murmur magazine is produced by Edwin Bowe and Bryan Meade I Facebook: MurmurIreland I Vimeo: Murmur_film I Twitter: @Murmur_Ireland I Minds: MurmurMagazine I Instagram: Murmur_gram I Soundcloud: Murmur_ings I Enquiries and submissions: edwin@murmur.ie or bryan@murmur.ie I Advertising enquiries: Rep of Ireland: 087 295 1151. Australia: +61 458 732 419 © All material appearing in Murmur is subject to copyright I Reproduction in whole or in part without written permission from the editor is prohibited. Published in 2017 by Black Street Media, 9 Black Street, Dublin 7.

MURMUR INTERNATIONAL, SUMMER 2017

KENNETH O’HALLORAN, PHOTOGRAPHER

STICKIN’ IT TO THE MAN ‘BING, BING, BONG, BONG, BING, BING, BING: WHY AMERICA GIVES DONALD TRUMP THE FINGER’ IS A NEW BOOK THAT DOCUMENTS THE VISCERAL REACTION OF AMERICANS TO THE TRUMP HOLLYWOOD STAR.

MURMUR INTERNATIONAL, SUMMER 2017

(BELOW) ‘BING, BING, BONG, BONG, BING, BING, BING: WHY AMERICA GIVES DONALD TRUMP THE FINGER’ BY KENNETH O’HALLORAN.

MURMUR INTERNATIONAL, SUMMER 2017

hotographer Kenneth O’Halloran has just published a book documenting a month long study of the powerful and often visceral reaction of Americans who visit the Donald Trump Star at the renowned Hollywood Walk of Fame. Over 10 million people visit the Walk annually but this year the usual tourist traffic has been joined by the hoards of people feeling the need to publicly make known their anathema to the Republican Presidential candidate. The book Bing, Bing, Bong, Bong, Bing, Bing, Bing shows just how Americans are happy to drop their inhibitions and show the nature of their true feelings once they arrive at the Trump Star. As O’Halloran captures with these impactful

images, each day people would stop by simply to “give the finger” to the Trump Star; a number encouraging their young children to do so, while others pretended to defecate over it or spit at it. The Star has also been repeatedly vandalised. As O’Halloran explained: “The images reveal a very interesting analysis of how this divisive Presidential campaign appears to have altered the nature of polite discourse in public places, at a tourist attraction that is the embodiment of the American dream. It was fascinating to watch the way in which people wanted to express their anti Trump feelings so strongly and so openly.” Watch the promo clip below.

MURMUR INTERNATIONAL, SUMMER 2017

Donald Trump was honored by receiving the 2,327th Star on the Hollywood Walk of Fame in 2007. It was for his role as the Producer in NBC’s The Apprentice. In 2015, following Trump’s remarks about illegal immigrants in the United States, there was a small, but vocal, public outcry to remove his Star. An online petition to get the Star removed has been signed by over 40,000 people. Echoing Trump’s controversial pledge to build a wall between the US and Mexico earlier this summera 6” tall grey concrete wall appeared around it complete with a “Keep Out” sign, and topped with razor wire.

Kenneth O Halloran is a photographer based in Dublin. O Halloran’s work has appeared in magazines such as The New York Times Magazine, The Sunday Times Magazine, Stern, Le Monde, TIME, GEO, The Financial Times Magazine and Cosmopolitan Magazine. His work has been recognised by World Press, American Photography, Alliance Francaise, and the Taylor Wessing Portrait Prize. He is also a winner of the Terry O’Neill Photography award. He was born in the West of Ireland and is a graduate of the Institute of Art, Design and Technology in Dun Laoghaire, Dublin. He holds a Masters in Fine Art Photography from The University of Ulster, Belfast.

MURMUR INTERNATIONAL, SUMMER 2017

F or m ore i nfor m at i on go toÂ w w w . kennethohalloran . c o m / b ook s / tr u m p

MURMUR INTERNATIONAL, SUMMER 2017

S E Á N H I L L E N - A R T IS T

“LIFE IS FAR TOO SHORT NOT TO HAVE A FIZZY DRINK” WE POP A CORK (OR TWO) WITH THE MASTER OF THE SURREAL PHOTO MONTAGE AT HIS HOME STUDIO IN DUBLIN.

PHOTOGRAPHY: BRYAN MEADE WORDS: EDWIN BOWE

MURMUR INTERNATIONAL, SUMMER 2017

eán Hillen pops his cork. We’re standing in his north Dublin home, the likes of which resembles Francis Bacon’s Queensberry Mews or the mechanic’s garage in Robert M.Pirsig’s Zen and the Art of Motorcycle Maintenance. But, after talking to Hillen, one gets the feeling that everything is in its right place. It’s the second bottle of Brut this evening but the artist has some cause for celebration. Hillen is best-known for his socio-political,

MURMUR INTERNATIONAL, SUMMER 2017

photo montages of Irish landscapes featuring nostalgic and, at times, kitsch imagery juxtaposed with international landmarks. The titles of which have comical inscriptions such as: Sr. Faustina Appears In London Newry, Miraculously Preventing The Illegal Photography Of Members Of The Security Forces. Taking another sip of the fizz the artist announces a recent personal epiphany.

“My world changed a year ago when I got a diagnosis. I have a condition called Aspergers Syndrome. I’m not sure if it effected my work directly, it probably made me happier in my own skin. But I decided, there and then, that I’m not going to give a fuck about what people think of my work.” Seán Hillen was born in Newry, Co. Down in 1961. He studied at the Belfast College of Art and in 1982 travelled to London to further his artistic education at the London College of Printing and then at the Slade School of fine art. During the 1980’s his travels between London and his home led to him producing a body of photographic work which he later developed into photo -montage pieces that

>> MURMUR INTERNATIONAL, SUMMER 2017

ABOVE: ‘LOOKING FOR EVIDENCE OF CONTROLLED DEMOLITION AT THE SILVER STRAND, CO WICKLOW’ BY SEÁN HILLEN. RIGHT: ‘JESUS APPEARS IN NEWRY’ BY SEÁN HILLEN.

MURMUR INTERNATIONAL, SUMMER 2017

included the series’ Ideas for a New Town, Newry Gagarin and LondonNewry, A Mythical Town. Presently, Hillen is busy preparing a new book which he says will be a definitive collection of a hundred works with a biography written by journalist Mic Moroney. The, as yet, untitled book will be designed by Eric Kessels under the working title: The Wonderful World Of Sean Hillen. The entire catalogue of work included in the upcoming book will be displayed in The Golden Thread Gallery, Belfast in January 2017. “The thing that is very noticeable in my work is this desire and need to fix the world. This idea that there’s something wrong with the world and that I’m obliged to fix it by cutting up bits of paper and sticking them together.” Seán has two other exhibitions based on Melancholy Witness which opened recently at the Westport Arts Festival and Newry. V i s i t w w w . s eanh i llen . c o m T w i tter @ s eanh i llen

MURMUR INTERNATIONAL, SUMMER 2017

S H A N E LY N A M â&#x20AC;&#x201C; F I F T Y H I G H S E A S O N S

MURMUR INTERNATIONAL, SUMMER 2017

THE IRISH PHOTOGRAPHER’S NEW BOOK DOCUMENTING QUIRKY AND UNUSUAL 1960’S HOLIDAY RESORTS IN THE SOUTH OF FRANCE GETS KICKSTARTER FUNDING.

HOLIDAYS IN THE SUN

he Languedoc-Roussillon Coastal Tourist Development Inter-Ministerial Mission, known simply as the Mission Racine, was a state initiative originally devised by French president de Gaulle in June 1963. The aim of the ambitious project was to carry out major infrastructure works, with a view to developing the French Mediterranean coastline in the departments of Gard, Hérault, Aude and the Pyrenees, transforming the Languedoc-Roussillon coastline into a thriving tourist destination. Ahead of its time and with high hopes, Mission Racine invited innovative architects to design and construct unique spaces for each town that adapted to the local environment with a concerted effort to preserve parts of the landscape – to this day there are pockets of protected land between developments.

>> MURMUR INTERNATIONAL, SUMMER 2017

In the fifty holiday seasons since its official opening, Mission Racine has proven to be an economic success, boasting an 18% quota of social housing, allowing more French citizens to take advantage of their ‘paid holidays’ while providing a cheaper alternative to the Cote d’Azur resorts. Fifty High Seasons, a new Kickstarterfunded photobook by Irish photographer Shane Lynam, takes a unique look at how the region appears half a century later. This outré collection of shabby chalets and neglected undergrowth also documents the strong personal connection the photographer formed with the region over the years (since 2005, Lynam spent most of his holidays there) and how he, too, feels part of its history. “From early on, I saw Fifty High Seasons as a book project. Over the last few months I’ve been figuring out layout, design and sequencing with a working mock-up”, says Shane.

MURMUR INTERNATIONAL, SUMMER 2017

Extracts of the collection have appeared in various forms, exhibitions and publications recently but, like Mission Racineitself, Lynam’s ambition to see the complete Fifty High Seasons collection printed are close to fruition: “I’ve been looking into ways of publishing the work for the last few years, however, each time I’d get to a certain point and realise that, if I wanted to keep creative control over how it would look, I couldn’t go any further without some funding”, Shane tells Murmur. “The advantage of a Kickstarter is that you can cram what could take six months into one month and the momentum it creates means that you probably sell a lot more books”. Following its initial launch, the online reaction to the Kickstarter has been very positive. The photographer, surprised by the interest it generated within such a short period, has since increased the target cost for production.

“If I wanted to keep creative control over how it would look, I couldn’t go any further without some funding” MURMUR INTERNATIONAL, SUMMER 2017

“I knew there was some interest in the printed version of the book but had no way of knowing if people were willing to pay in advance without seeing the final version and having to wait a few months to receive it. With Fifty High Seasons, a majority of the work was done in the four years before the Kickstarter with exhibitions, features and awards. The campaign then sort of takes care of itself once people are made aware. Starting on day one, with a completely new body of work, would be more difficult”, he says.

>> 34

MURMUR INTERNATIONAL, SUMMER 2017

“A majority of the work was done in the four years before the Kickstarter with exhibitions, features and awards. The campaign then sort of takes care of itself once people are made aware”

For now, Lynam’s focus is on getting Fifty High Seasons to book shelves but the photographer is already planning future projects. “I’d like to begin a new body of work here in Ireland by the end of this year and work on it through to the end of 2018. It will be a more structured approach compared to my my last project, Inner Field”.

MURMUR INTERNATIONAL, SUMMER 2017

MURMUR INTERNATIONAL, SUMMER 2017A

BUSLOAD BUSLOAD OFF O FAITH FAITH T O N Y O ’ S H E A – I TA L I A 9 0 D UB L I N

A A

A NEW BOOK FROM CAFÉ ROYAL PUBLISHERS UNEARTHS A FASCINATING COLLECTION OF PHOTOGRAPHS BY TONY O’SHEA TAKEN FROM THE ‘TEAM BUS’ DURING REP OF IRELAND’S ITALIA ‘90 HOMECOMING CELEBRATIONS.

“A

nation holds its breath!” Many of us remember those famous words uttered by RTÉ Sports commentator George Hamilton moments before David O’Leary netted that famous penalty against Romania sending the Republic of Ireland to the quarter finals of the Italia 90 World Cup – albeit without winning a single game. The team returned from a heroic display to be greeted by an estimated 500,000 people lining the streets from Dublin Airport to O’Connell Street (proportionately, more people came out to celebrate Ireland’s defeat in the Italia 90 quarter finals than the number of Germans who celebrated the World Cup winning team). For three weeks the nation experienced something close to mass hysteria.

>> MURMUR INTERNATIONAL, SUMMER 2017

MURMUR INTERNATIONAL, SUMMER 2017

>> MURMUR INTERNATIONAL, SUMMER 2017

For the first time, a collection of photographs taken by Irish photographer Tony O’Shea of the fans who lined those roads are published together in a new photobook ‘Italia 90 Dublin’ (Café Royal Books). “I went out to Dublin Airport to see what would happen and was lucky enough to get on board the official team bus. Also on board were the Gardaí who would, occasionally, get out of the bus to clear the road ahead of euphoric fans,” says O’Shea. What is interesting about the collection is the noticeable absence of the Irish team.

MURMUR INTERNATIONAL, SUMMER 2017

“I suppose with street photography it’s what happens on the sidelines that I find more interesting”

MURMUR INTERNATIONAL, SUMMER 2017

“I suppose with street photography it’s what happens on the sidelines that I find more interesting”, O’Shea tells Murmur. “Once I left the airport it was immediately apparent that people were gathering in force and it was not going to be a subdued welcome home. It really caught the public imagination and I think people saw it as a turning point for the nation, leaving the bleak decade of the 80’s behind.” Today, in 2017 Dublin, Tony O’Shea reflects philosophically on his work from Italia 90: “I don’t think I’ve seen such a national uplift in people since that day. It wasn’t just about football it was bigger than that”.

MURMUR INTERNATIONAL, SUMMER 2017

‘ Ital i a 9 0 D u b l i n ’ i s ava i la b le no w fro m the Caf é R oyal Book s w e b s i te

MURMUR INTERNATIONAL, SUMMER 2017

COVER STORY S T R E E T A R T IS T S O F W O R L D T R A D E C E N T R E

MURMUR INTERNATIONAL, SUMMER 2017

THINGS ARE NOT AS THEY SEEM AT 4 WORLD TRADE CENTRE, NEW YORK CITY. SEAN SULLIVAN, AKA LAYER CAKE, AND ZIMER TA LK TO MURMUR ABOUT HOW A COLLECTIV E BROUGHT THE STREETS UP TO FLOOR 69.

N I Y R E GALL THE SKY

igh above Fulton Street, on the 69th floor of a 540 meter-high building in Lower Manhattan, one can’t help but notice the bizarre sight of two life-size ‘vandal’ Gummy Bears, an unashamedly flamboyant Lambourghini in “auto couture” or the incriminating evidence of spray paint, stencils and wheat paste. Welcome to the gallery in the sky at 4 World Trade Center, an exhibition of New York street art, where neck tats and snapbacks meet pinstripes and braces. Walls and floors erupt with vibrant colour and imagery usually found at street level in parts of the Lower East Side or Williamsburg. But, unlike the art that exists at ground level, this is strictly indoors, several hundred feet above the street and definitely NOT illegal. One of the featured artists, BD WHITE, describes his own work as “mindful vandalism” while the consultant, Robert Marcucci, recently

>> MURMUR INTERNATIONAL, SUMMER 2017

MURMUR INTERNATIONAL, SUMMER 2017

Multidisciplinary artist whose works are built on a foundation of stencils and aerosol. Falling somewhere in between simplistic and photorealistic, his multi-layer stencils offer a distinctly clean and illustrative aesthetic. While Iuratoâ&#x20AC;&#x2122;s murals have adorned neighborhoods along the east coast United States for years, heâ&#x20AC;&#x2122;s more

JOE IARATU recently become noted for the unique placement and photography of miniature painted wood cutouts in public spaces. Utilizing the outdoor environment to create site-specific installations, Iurato creates windows into a narrative formed by personal experiences. Each individual work of art highlights the potential for interaction

and storytelling within public space and transforms common land/cityscapes into carefully crafted scenes. Before leaving each installation behind, he documents it with photographs, which offer specific and intentional viewpoints of the artwork in relation to its surroundings, manipulating our perception of scale and dimensionality.

called the exhibition a “contradiction on all levels” – a “blend of both inner-city street art tension and fine-art meditation” in a corporate setting”. The artists were invited by creative consultant Robert Marcucci and Dara McQuillan, chief marketing officer for Larry Silverstein, the developer of the 72-story building. LAYER CAKE, aka Sean Sullivan, is a New York-born and multi-faceted artist involved in music production, clothing, and his signature style stencil art. “My uncle was a graffiti artist, his friends from the neighbourhood were graffiti artists. I had access to their ‘black books’ and gained a knowledge of how markers and their pigments worked”, says the unassuming Sullivan.

MURMUR INTERNATIONAL, SUMMER 2017

As a kid growing up on the streets of New York City, Sullivan acquired the skills of the wily urban graffiti artist through osmosis. On one occasion the artist discovered that by attaching a magnet to the end of a spray can, the internal ‘pea ball’ wouldn’t rattle when shaken, thus eluding the authorities. “I learnt the mischievous parts of graffiti from a very young age”, he says, with a cheeky grin.

But Sullivan’s connection with the new World Trade Centre goes far deeper than the expressive layers of spray paint on partitions and reinforced concrete that make up the surrounding walls.

His personal journey to the 69th floor began while

having breakfast back in 2001. It was a typically bright September morning in New York. “I had just turned 21 and was listening to the Howard Stern Show in an appartment on 42nd Street when the terrorist attacks were announced live on-air”.

The artist’s father, a serving member of the NYPD Bomb Squad, was immediately ordered to the site. “My father got hurt on 9/11 and lost one of his

MURMUR INTERNATIONAL, SUMMER 2017

New York City Street artist WhIsBe is noted for his whimsical iconography, juxtaposing innocuous and benign images within an edgier context. Mixed with self taught skills and an education from New York’s School of Visual Arts, the artist’s street work began to appear in 2011 across the US and Europe when his McDictator piece received worldwide media attention. The artist was

WhIsBe speaking out by depicting Ronald McDonald as a malevolent dictator, as The Huffington Post put it, “the McDonaldization of America.” The use of this figure to expound political opinion in this familiar street theme has become popular among many other artists such as Banksy, also using the jovial mascot as a foil for sociological commentary.

Most recently, the artist work was on view at Art Basel with Castle Fitzjohns Gallery, Art Southampton with the Keszler Gallery, and featured in HBOs documentary “Better Out Than In”—along with a collaboration with the New Museum to create a limited edition silkscreen print. Already being placed alongside numerous other successful artists such as Marco Glaviano, Russell Young and FAILE .

close friends. I was down here on the day searching for him and eventually found him. When I asked him where was the safest place to go, he said the Bronx”. Without delay, Sullivan took his father to hospital where he underwent emergency surgery to his knees and eye. “I wanted to do something right away”, Sullivan says of his innitial reaction when first approached

to be part of the project. Being a young graffiti artist growing up on the streets of New York, fellow street artist and co-exhibitor, ZIMER, managed to avoid most trouble. “Graffiti did the exact opposite. It gave me something to do”, he says. “It can be very destructive, it can ruin people’s buildings. It’s just how you use it.”

MURMUR INTERNATIONAL, SUMMER 2017

CHINON MARIA attended the Pont-Aven School of Contemporary Art in France, undergraduate programs through the Rhode Island School of Design, and graduated with a Bachelor of Fine Arts from Montana State University. While in Montana she was the Captain of the NCAA Division I MSU Alpine

Chinon maria

“We are still New York and always will be”: Street artist Zimer photographed by Joe Woolhead.

“You could see it and you could smell it. It was unlike any other day, ever. It changed everything. Everyone was different after that” Zimer on 9/11

MURMUR INTERNATIONAL, SUMMER 2017

Ski Team. Her youth was spent in rural Vermont, Colombia and on the ski slopes of North America and Europe. It was in her childhood home where she first began cultivating her creative path secretly drawing and painting on the walls of her home. Today she splits her time between New York and Europe.

Sean Sullivan, aka Layer Cake, photographed on the 69th floor of 4 World Trade Centre by Joe Woolhead.

“I learnt the mischievous parts of graffiti from a very young age” Sean Sullivan, aka Layer Cake

Icy & Sot

Zimer equates the art and practice of graffiti to that of skateboarding – a constructive skill that requires large amounts of practice, providing structure to a young life that could, otherwise, be bound for delinquency. “Like graffiti, skateboarding can ruin property, benches and mess up marble”, he says. “It just depends on how you use it”.

ICY (Born 1985) and SOT (born 1991) are stencil artists from Tabriz, Iran, currently residing in Brooklyn, New York. Since 2006, the two brothers have contributed to Iranian and international urban art culture through their striking stencil work that depicting human rights, ecological justice, social

and political issues. Their work appears on walls and galleries throughout the Iran, USA, Germany, China, Norway, and globally.They transcend their histories of artistic and political censorship by using public art to envision a world freed from borders, war and gun violence.

Like his friend Layer Cake, Zimer’s memories of 9/11 are still vivid: “You could see it and you could smell it”, he says of his experience as a Brooklyn highschool student during 9/11 attacks. “It was unlike any other day, ever. It changed everything. Everyone was different after that”. To find out more about the artists exhibiting go to http://www.wtgallery.com/artists With special thanks to Joe Woolhead, Robert Marcucci, Bobby Grandone and Josh Guyer in New York.

MURMUR INTERNATIONAL, SUMMER 2017

JOE WOOLHEAD â&#x20AC;&#x201C; NEW YORK

EYES

MURMUR INTERNATIONAL, SUMMER 2017

WIDE OPEN IRISH PHOTOGRAPHER JOE WOOLHEAD HAS BEEN A RESIDENT OF NEW YORK CITY FOR OVER 27 YEARS. HERE HE SHARES HIS JOURNEY IN PICTURES FROM 9/11, GROUND ZERO TO NUMBER 4 WORLD TRADE CENTRE IN LOWER MANHATTAN.

MURMUR INTERNATIONAL, SUMMER 2017

(Left) 11 September 2001, New York: Smoke pours from the World Trade Center complex following a terrorist attack September 11, 2001. © Joseph Woolhead / SIPA PRESS

orn and raised in Dublin, photographer Joe Woolhead has been a resident of New York City for over 27 years. In 2004, he began working with Silverstein Properties, his main focus being on the rebuilding of the World Trade Center. Here, the Irish photographer shares his journey in pictures – from 9/11, Ground Zero to number 4 Fulton Street in Lower Manhattan. There’s a reason why Joe Woolhead looks very comfortable in a hard hat, having spent most of his early professional years as a construction worker, painter, plasterer and stone mason. After suffering a serious accident in 1996, Joe decided to return to college to rediscovered his passion for creative arts – particularly poetry and photography.

>> MURMUR INTERNATIONAL, SUMMER 2017

MURMUR INTERNATIONAL, SUMMER 2017

He pursued his studies at Hunter College in New York city where he graduated with a degree in film. When the attacks happened on September 11th 2001, Joe grabbed his camera and shot what he witnessed over the course of three days. His photographs from that time were published all over the world. In 2004, Joe began working with Silverstein Properties, his main focus being on the rebuilding of the World Trade Center. In 2006, he also started work at the 9/11 Memorial documenting the construction of the museum and the memorial pools. At present, he continues to photograph the progress of work at 3 WTC which is opening in spring 2018.

MURMUR INTERNATIONAL, SUMMER 2017

Joe’s work has been published in numerous publications including the Daily News, New York Post, New York Times, Esquire, the New Yorker, Time Magazine, New York Magazine, the Wall Street Journal, San Francisco Chronicle and the Sunday Times. He has also been featured in several documentaries including Garry Keane’s The Irish New Yorkers (Gaeil Nua Eabhrac) and Sean O Cualain’s Men at Lunch (Lon sa Speir). Currently, he is working on several books, including one with Esquire as part of a long running series related to the World Trade Center.

MURMUR INTERNATIONAL, SUMMER 2017

WTC Tower4 Rock Formation - Credit Joe Woolhead (4)

MURMUR INTERNATIONAL, SUMMER 2017

here. ‘Here - A Photographic Record’ by Gregory Dunn is currently available in Bí Urban on Manor Street, Dublin 7 and the Library Project in Temple Bar.

Ben Angotti, from Street Artists of the World Trade Centre www.wtgallery.com/artists