From Franz Ferdinand fusing a basement pub’s lights to notorious high-rise flats just days before their demolition, a new show captures the changing city. Its photographers talk us through their shots

In the mid-1960s, with a shot called Beatle Girl, Joseph McKenzie made one of the most enduring images of Glasgow. His photograph showed a youngster in the slums of the Gorbals wearing a dirtied dress. Smiling and holding a cane, she stands next to a young woman who is wearing a dress patterned with the faces of the Fab Four.

Images like McKenzie’s, and the street photography of Oscar Marzaroli, came to define Glasgow’s distinctive character – its Victorian tenements, grit and hardiness – charting industrial boom and subsequent bust, cycles of dereliction, regeneration and demolition. But what happened next? Featuring 80 photographs by artists of different generations, Still Glasgow , at the city’s Gallery of Modern Art (GoMA), captures its changes and complexities through the eyes of people who have been there since the 1940s.

From Franz Ferdinand fusing a basement pub’s lights to notorious high-rise flats just days before their demolition, a new show captures the changing city. Its photographers talk us through their shots

In the mid-1960s, with a shot called Beatle Girl, Joseph McKenzie made one of the most enduring images of Glasgow. His photograph showed a youngster in the slums of the Gorbals wearing a dirtied dress. Smiling and holding a cane, she stands next to a young woman who is wearing a dress patterned with the faces of the Fab Four.

Images like McKenzie’s, and the street photography of Oscar Marzaroli, came to define Glasgow’s distinctive character – its Victorian tenements, grit and hardiness – charting industrial boom and subsequent bust, cycles of dereliction, regeneration and demolition. But what happened next? Featuring 80 photographs by artists of different generations, Still Glasgow , at the city’s Gallery of Modern Art (GoMA), captures its changes and complexities through the eyes of people who have been there since the 1940s.

From Franz Ferdinand fusing a basement pub’s lights to notorious high-rise flats just days before their demolition, a new show captures the changing city. Its photographers talk us through their shots

In the mid-1960s, with a shot called Beatle Girl, Joseph McKenzie made one of the most enduring images of Glasgow. His photograph showed a youngster in the slums of the Gorbals wearing a dirtied dress. Smiling and holding a cane, she stands next to a young woman who is wearing a dress patterned with the faces of the Fab Four.

Images like McKenzie’s, and the street photography of Oscar Marzaroli, came to define Glasgow’s distinctive character – its Victorian tenements, grit and hardiness – charting industrial boom and subsequent bust, cycles of dereliction, regeneration and demolition. But what happened next? Featuring 80 photographs by artists of different generations, Still Glasgow , at the city’s Gallery of Modern Art (GoMA), captures its changes and complexities through the eyes of people who have been there since the 1940s.