Willie Doherty Ghost Story 2007 (video still)
Willie Doherty Ghost Story 2007 (video still)
Willie Doherty Ghost Story 2007 (video still)
Press Information
This will be Willie Doherty’s fifth exhibition at Matt’s Gallery.
The gallery has collaborated with the artist since 1990 and was the first venue
to show his video work, commissioning the installation The Only Good One
is a Dead One in 1993. This led to Doherty’s first Turner Prize nomination
in 1994.
For Replays, Matt's Gallery will present a survey of Doherty’s
video work made over the last thirteen years. These works are set against the
backdrop of a changing Northern Ireland and engage the viewer in the undercurrent
of apprehension and uncertainty of living in a divided society.
The gallery will be divided into two exhibition spaces, with Ghost Story
(2007) showing throughout the exhibition in one space and a rotation of eight
videos in the other. All works are single channel video installations and will
be shown in the following order:
Ghost Story (2007)
screened throughout the exhibition
15 minutes, colour, sound
Ghost Story is located in the landscape of post-conflict Northern Ireland;
a place of unsolved murders and unresolved traumas. The camera moves slowly
along a country path that is flanked on both sides by trees. This extended shot
is accompanied by a voiceover where the narrator recounts his experience and
memories of past events and people. As the narrative unfolds the scene switches
to a number of other locations but always returns to the path. The narrative
evokes memories of the dead and a sense of loss and foreboding, as their presence
is made palpable.
Empty (2006)
Wednesday 23 until Sunday 27 January
8 minutes, colour, sound
Empty was shot in a single day on location in Belfast and records the
exterior of a disused office building. The surface of the abandoned building
is explored revealing its peeling paint, its rusting window grilles and its
weathered textures. A low background drone fades in and out of the ambient sounds
of wind and rain, the rumble of traffic and the sound of a distant helicopter.
Closure (2005)
Wednesday 30 January until Sunday 3 February
11:20 minutes, colour, sound
Closure shows a young woman dressed in black walking around the perimeter
of long and narrow enclosed space that appears to be part of a military or security
installation. The camera tracks the woman as she paces the length of the space.
The sequence is accompanied by a voiceover that oscillates between references
to the destruction of a domestic space to the woman’s determination and
resolve in the face of apparent adversity.
Passage (2006)
Wednesday 6 until Sunday 10 February
7:52 minutes, colour, sound
Passage is shot at night in the waste ground near a motorway that is
audible in the background. Two young men walk towards each other from opposite
directions. The sequence is made up of a series cuts that move from one figure
to the other. The men appear to be unaware of each other until they reach a
point where they meet in a short underpass. As they pass each man looks back
over his shoulder at the other and continues to walk. Variations of this first
sequence follow as the two figures walk away until they inevitably meet again
and again.
Non-specific Threat (2004)
Wednesday 13 until Sunday 17 February
7:46 minutes, colour, sound
Non-Specific Threat consists of a long pan as the camera moves slowly
around a young man. As the camera rotates around the young man we are invited
to scrutinize the bumps and marks on his shaved head and to read the changing
expressions on his face. The sequence is accompanied by a reserved but threatening
voiceover that describes a future state of impending doom and fear, while implicating
the viewer in an act of mutual recognition.
Sometimes I imagine it’s my turn (1998)
Wednesday 20 until Sunday 24 February
3 minutes, colour, sound
Sometimes I Imagine it’s my turn starts as the camera pans slowly
across a stretch of waste ground and unexpectedly comes upon a figure lying
face down on the ground. This shot is quickly followed by a sequence of tracking
shots that take us closer and closer to the figure, whose identity is never
disclosed. This sequence is interrupted by close-up shots of the undergrowth
and by short inserts of hand-held footage of the same scene. The growing sense
of unease is further heightened by the intrusion of rapid inserts of television
footage, suggesting a link between the subject of the video and actual news
coverage. The overall sequence is accompanied by the distant sound of a helicopter
and ends abruptly in a flash of white noise, only to repeat again and again.
The Wrong Place (1996)
Wednesday 27 February until Sunday 2 March
10 minutes, colour, sound, single screen installation
The video sequence starts in darkness and in silence that is abruptly ended
by the sound of a light switch being turned on and a humming fluorescent light,
seen from below, flickers into life. This scene cuts to a point of view shot
as the camera moves down a flight of stairs and starts a disorientating and
frightening journey through an old dysfunctional and abandoned building. This
survey of the interior is suddenly ended by the sound of running footsteps as
the camera moves frantically as if trying to escape. The sequence ends back
at the top of the stairs where the scene is plunged back into darkness accompanied
by the sound of panting and heavy breathing. Suddenly the light flickers on
again and the camera starts a similar journey.
No smoke without fire (1994)
Wednesday 5 until Sunday 9 March
10 minutes, colour, sound, single screen installation
No Smoke Without Fire begins abruptly as a hand-held camera moves through
an extensive area of waste ground. It is night and the scene is lit only by
a lamp attached to the camera, which moves at a slow pace, surveying the ground
and hovering above tall grass, bushes, pieces of domestic waste and other discarded
objects. This narrow point of view rarely changes and is interrupted only by
some sharp edits and when the camera tilts up as it approaches a wire fence.
The camera pulls away quickly from the fence and continues to examine the ground,
leaving the viewer in a state of uncertainty about whether the action occurs
inside or outside of the fenced area.
At the end of the day (1994)
Wednesday 12 until Sunday 16 March
10 minutes, colour, sound, single screen installation
A video camera is mounted in the interior of a car to provide a static shot
through the windscreen. The car travels a short journey along a small country
road at dusk. The sound of the car is audible as it moves along the uneven and
bumpy road. A concrete border roadblock comes into view and when the car reaches
this obstruction it stops, illuminating the concrete blocks in the headlights.
The car waits at the roadblock until the tension is broken by a male voice that
speaks a short phrase. At this point, the sequence cuts back to the start and
is repeated each time ending with a different phrase.
For the first time, Matt's Gallery will be working with Artprojx to present Ghost Story at the Prince Charles Cinema, London.
Born Derry, N. Ireland 1959 Lives and works in Derry Studied 1978-81 Ulster Polytechnic (BA Hons Fine Art Sculpture) and 1977-78 Ulster Polytechnic (Foundation Studies) Solo Exhibitions 2007 Willie Doherty: Stories, Städtische Galerie im Lenbachhaus und Kunstbau, Munich; Ghost Story, Biennale of Venice, Northern Ireland Pavilion; Willie Doherty, Hamburger Kunstverein; Willie Doherty: PASSAGE, Alexander and Bonin, New York 2006 EMPTY, Kerlin Gallery, Dublin and Galerie Peter Kilchmann, Zürich; Out of Position, Laboratorio Arte Alameda, Mexico City 2005 Galeria Pepe Cobo, Madrid; Salon, Museum of Contemporary Art, Belgrade; Non-specific Threat, Q Gallery, Derby 2004 Non-specific Threat, Alexander and Bonin, New York; Non-specific Threat, Galerie Peter Kilchmann, Zurich 2003 De Appel, Amsterdam; Stadtische Kunsthalle, Mannheim 2002 False Memory, Irish Museum of Modern Art, Dublin; Kerlin Gallery, Dublin; Retraces, Matt’s Gallery, London 2001 How It Was, Ormeau Baths Gallery, Belfast [catalogue]; extracts from a file, Alexander and Bonin, New York 2000 extracts from a file / Akten-Auszug, Gesellschaft für Aktuelle Kunst, Bremen; Galerie Peter Kilchmann, Zurich; extracts from a file, DAAD Gallery, Berlin [catalogue]; Kerlin Gallery, Dublin; Blackspot, Vancouver Art Gallery 1999 Dark Stains, Koldo Mitexelena Kulturunea, San Sebastian [catalogue]; Willie Doherty: new photographs and video, Alexander and Bonin, New York; same old story, firstsite, Colchester; True Nature, The Renaissance Society, Chicago; Somewhere Else, Museum of Modern Art, Oxford 1998 Somewhere Else, Tate Gallery Liverpool [catalogue]; Willie Doherty, Galerie Jennifer Flay, Paris; Willie Doherty, Galleria Emi Fontana, Milan; Blackspot, firstsite, Colchester [catalogue]; Willie Doherty, Angles Gallery, Santa Monica 1997 same old story, Matt’s Gallery, London [catalogue]; Orchard Gallery, Derry; Berwick Gymnasium, Berwick-upon-Tweed; Le Magasin, Grenoble; Willie Doherty, Galerie Peter Kilchmann, Zurich; Willie Doherty, Kerlin Gallery, Dublin 1996 The Only Good One Is A Dead One, Mendel Art Gallery, Saskatoon; Art Gallery of Windsor; Art Gallery of Ontario, Toronto; Edmonton Art Gallery, Alberta, Canada; The Only Good One is A Dead One, Fundacao Calouste Gulbenkian, Lisbon; Galleria Emi Fontana, Milan; Willie Doherty, Alexander and Bonin, New York; Willie Doherty, Musee d’Art Moderne de la Ville de Paris, Paris [catalogue]; In the Dark: Projected Works by Willie Doherty, Kunsthalle Bern; Kunstverein, München [catalogue] 1995 Willie Doherty, Galerie Peter Kilchmann, Zurich; Willie Doherty, Galerie Jennifer Flay, Paris 1994 The Only Good One is a Dead One, Arnolfini, Bristol; Grey Art Gallery, New York University [catalogue]; At the End of the Day, British School at Rome [brochure]; Willie Doherty, Kerlin Gallery, Dublin 1993 Willie Doherty, Galerie Jennifer Flay, Paris; They’re All The Same, Centre for Contemporary Art, Ujazdoski Castle, Warsaw; 30 January 1972, Douglas Hyde Gallery, Dublin; The Only Good One is a Dead One, Matt’s Gallery, London 1992 Willie Doherty, Tom Cugliani Gallery, New York; Willie Doherty, Oliver Dowling Gallery, Dublin; Willie Doherty, Galerie Peter Kilchmann, Zurich 1991 Willie Doherty, Galerie Giovanna Minelli, Paris; Unknown Depths, John Hansard Gallery, Southampton; Angel Row Gallery, Nottingham; ICA, London [catalogue] Willie Doherty, Tom Cugliani Gallery, New York; Kunst Europa, Six Irishmen, Kunstverein Schwetzingen 1990 Unknown Depths, Ffotogallery, Cardiff; Third Eye Centre, Glasgow; and Orchard Gallery, Derry [catalogue]; Imagined Truths, Oliver Dowling Gallery, Dublin; Same Difference, Matt’s Gallery, London 1988 Two Photoworks, Third Eye Centre, Glasgow; Colourworks, Oliver Dowling Gallery, Dublin 1987 The Town of Derry Photoworks, Art & Research Exchange, Belfast 1986 Photoworks, Oliver Dowling Gallery, Dublin; Stone Upon Stone, Redemption!, Derry 1982 Collages, Orchard Gallery, Derry; Siren, an installation, Arts & Research Exchange, Belfast 1980 Installation, Orchard Gallery, Derry Group Exhibitions 2007 GOING STAYING: Movement, Body, Place in Contemporary Art, Kunstmuseum Bonn; Regarding Fear and Hope, Monash University Museum of Art, Victoria, Australia; 3rd Auckland Triennial, Auckland, New Zealand; Fast Forward: Comtemporary Collections for the Dallas Museum of Art, Dallas Museum of Art 2006 RE: LOCATION, Alexander and Bonin, New York; Image War: Contesting Images of Political Conflict, Whitney Museum Independent Study Program, The Art Gallery of the Graduate Centre, City University of New York; Naturaleza: Experiencia, Museo San Románo, PhotoEspaña 2006, Toledo; Reprocessing Reality, P.A.1 Center for Contemporary Art, New York; ARS 06: Toden tuntu, (Sense of the Real) Museum of Contemporary Art Kiasma, Helsinki 2005 The Experience of Art, The Italian Pavilion, Venice Biennale, Venice, Italy; LisboaPhoto Biennale, Lisbon, Portugal; La actualidad revisada,Centro Ordóñez-Falcón de Fotografia, Donostia-San Sebastian; Non-Stop, Kunstverein Wolfsburg, Germany; Slideshow, Baltimore Museum of Art, then touring: Contemporary Art Centre Cincinatti; Brooklyn Museum, New York; Faces in the Crowd, Castello di Rivoli, Museo d’Arte Contemporanea, Turin; The Shadow, Vestsjællands Kunstmuseum, Sorø, Denmark; British Council, Salon Muzeja Savremene Umetnosti, Belgrade; Reprocessing Reality, Chateau de Nyon, Switzerland; PREPOSSESSIONS Ivan Dougherty Gallery, University of New South Wales, Sydney Australia; Golden Thread Gallery, Belfast 2004 Faces in the Crowd: The Modern Figure and Avant-Garde Realism, Whitechapel Art Gallery, London; Dwellan: An exhibition of contemporary video art, Charlottenborg Exhibition Hall, Copenhagen; Glocal: apuntes para videorepresentaciones de lo global y lo local, Galeria Moisés Pérez de Albéniz, Pamplona 2003 Turner Prize 2003, Willie Doherty, Grayson Perry, Anya Gallaccio, and Jake & Dinos Chapman, Tate Britain, London 2002 Re-Run, Selection of work from the XXV Bienal de Sao Paolo, Museum of Contemporary Art, Santiago, Chile; Willie Doherty, Paul Etienne Lincoln and Rita McBride, Alexander and Bonin, New York; History Now, Liljevalchs Konsthall and touring; Trauma, curated by Katrina Brown, Dundee Contemporary Arts, National Touring Exhibitions, Hayward Gallery: Colchester, Oxford and Nottingham [catalogue] 2001 Inner State of Health, Kunstmuseum Liechtenstein [catalogue]; Double Vision, curated by Andrea Schlieker, Galerie für Zeitgenössiche Kunst, Leipzig [catalogue]; Bloody Sunday (Willie Doherty, Locky Morris, Philip Napier), Orchard Gallery, Derry; Gisela Bullacher / Willie Doherty, Produzentengalerie, Hamburg; Night on Earth, curated by Ralf Christofori, Stådt. Ausstellungshalle Am Hawerkamp, Münster, Germany [catalogue] 2000 Look Out, curated by Peter Kennard, Touring exhibition organised by Art Circuit, Wolverhapton Art Gallery; Bluecoat Gallery, Liverpool; Pitshanger Manor Gallery, London; Wolsey Art Gallery, Christchurch Mansion [catalogue]; Hitchcock and Art: Fatal Coincidences, Musée des Beaux-Arts de Montréal, Montreal; Shifting Ground - Fifty Years of Irish Art, Irish Museum of Modern Art, Dublin [catalogue] Drive: power>progress>desire, Govett-Brewster Art Gallery, New Plymouth, New Zealand; Landscape, curated by Ann Gallagher, British Council Touring Exhibition [catalogue] 1999 des conflicts intérieurs, Willie Doherty and Donovan Wylie , Saison Photographique d’Octeville [catalogue]; Sleuth, Chapter Arts Centre and Ffotogallery, Cardiff; Oriel Mostyn Gallery, Llandudno; Barbican Art Gallery, London; Carnegie International 1999/2000, Carnegie Museum of Art, Pittsburgh [catalogue]; War Zones, Presentation House Gallery, Vancouver; Insight-Out, Kunstraum Innsbruck, Innsbruck; Enzeit Transart, Charim Klocker, Dorotheergasse, Vienna; Expansive Vision: Recent Acquisitions of Photographs in the Dallas Museum of Art, Dallas Museum of Art; Irish Art Now: From the Poetic to the Political, McMullen Museum of Art, Boston College; Art Gallery of Newfoundland and Labrador, Canada; Chicago Cultural Center 1998 Real/Life: New British Art, Tochigi Prefectural Museum of Fine Arts; Fukoka Art Museum; Hiroshima City Museum of Contemporary Art; Museum of Contemporary Art, Tokyo; Ashiya City Museum of Art & History, Japan [catalogue]; Summer Show, Kerlin Gallery, Dublin; A Sense of Place, Angles Gallery, Los Angeles; Photographs, Alexander and Bonin, New York; Art from the UK (Part II), Sammlung Goetz, Munich; Eugenio Dittobrn, Willie Doherty, Mona Hatoum, Doris Salcedo, Alexander and Bonin, New York; Wounds: between democracy and redemption in contemporary art, Moderna Museet, Stockholm; New Art from Britain, Kunstraum Innsbruck, Austria [catalogue]; Critical Distance, Andrew Mummery, London 1997 Ten Contemporary Photographers, Vaknin Schwartz, Atlanta, GA; Surroundings, Tel Aviv Museum of Art, Tel Aviv [catalogue]; Shot - Reverse Shot, Walter Phillips Gallery, Banff, Canada; Re/View: Photographs from the Collection, Museum of Art; P.S.1 - Opening Project, P.S.1, Long Island City, New York; No Place (like home), Walker Art Center, Minneapolis [catalogue]; New Found Land Scape, Kerlin Gallery, Dublin; Islas, Centro Atlantico de Arte Moderno, Las Palmas, Canary Islands [catalogue]; Citta/Nattura, Palazzo delle Esposizioni, Rome [catalogue]; Identité, le Nouveau Museé/Institut d’Art Contemporain, Villeurbanne; Stedelijk Van Abbemuseum, Eindhoven [brochure]; Between Lantern and Laser, Henry Art Gallery, Seattle; Pictura Britannica, ART FROM BRITAIN, curated by Bernice Murphy, Museum of Contemporary Art, Sydney, touring to Art Gallery of South Australia, Adelaide, and Te Papa, Wellington, New Zealand [catalogue] Dimensions Variable, British Council Touring Exhibition [catalogue] 1996 Distant Relations: A Dialogue Among Chicano, Irish and Mexican Artists, Santa Monica Museum of Art; Ikon Gallery, Birmingham; Camden Arts Centre, London; Irish Museum of Modern Art, Dublin; Circumstantial Evidence: Terry Atkinson, Willie Doherty, John Gotto, University of Brighton [catalogue]; ACE! Arts Council Collection New Purchases, Hatton Gallery, Newcastle Upon Tyne; Oldham Art Gallery, Oldham; Hayward Gallery, London; L’imaginaire irlandais, Ecole nationale superieure des Beaux-Arts de Paris, Paris; Language, Mapping and Power, Orchard Gallery, Derry [catalogue]; 10th Biennale of Sydney, Sydney, Australia; NowHere, Louisiana Museum of Modern Art, Denmark; ID, Stedelijk Van AbbeMuseum, Eindhoven; Nouveau Musée/Institut, Villeuerbanne, France [catalogue]; Happy End, Kunsthalle Düsseldorf; Face a l’Histoire 1933-1996, Centre George Pompidou, Paris [catalogue]; Being & Time: The Emergence of Video Projection, Albright-Knox Art Gallery, Buffalo [catalogue] 1995 Make Believe, Royal College of Art, London [catalogue]; Double Play - Beyond Congition, Sint-Niklaas City Academy, Belgium; IMMA/Glen Dimplex Artists Award, The Irish Museum of Modern Art, Dublin [catalogue]; Willie Doherty/Andreas Gursky, Moderna Museet, Stockholm; Trust, Tramway, Glasgow; It’s Not a Picture, Galleria Emi Fontana, Milan; New Art in Britain, Muzeum Sztuki, Lodz, Poland [catalogue]; Sites of Being, The Institute of Contemporary Art, Boston; IMMA Collection: Photoworks, The Irish Museum of Modern Art, Dublin 1994 The Spine, De Appel, Amsterdam [catalogue]; The Act of Seeing (Urban Space), Fondation pour l’Architecture, Brussels; Kraji/Places, The Museum of Modern Art, Ljubljana; Museum of Modern Art, Estonia [catalogue]; Points of Interest, Points of Departure, John Berggruen Gallery, San Francisco; Cocido Y Crudo, Museo National Reina Sofia, Madrid [catalogue]; From Beyond the Pale: Selected Works and Projects, Part 1, Irish Museum of Modern Art, Dublin; Willie Doherty/Mona Hatoum/Doris Salcedo, Brooke Alexander Gallery, New York; Turner Prize 1994, Willie Doherty, Peter Doig, Antony Gormley and Shirazeh Houshiary, Tate Gallery, London [catalogue] 1993 An Irish Presence, Venice Biennale, Venice; Prospect 93, Frankfurter Kunstverein, Frankfurt-am-Main [catalogue]; Spielholle, Grazer Kunstverein, Graz; Sylvana Laurenz Galerie, Paris; Bockenheimer/ University Underground Station, Frankfurt; Critical Landscapes, Tokyo Metropolitan Museum of Photography, Tokyo [catalogue]; Kreig (War), Neue Galerie, Graz [catalogue] 1992 Time Bandits, Calleria Fac-Simile, Milan; 13 Critics 26 Photographers, Centre d’Art Santa Monica, Barcelona [catalogue]; “Outta Here”, Transmission Gallery, Glasgow; Moltiplici Culture, Convento di S.Egidio, Rome [catalogue]; Beyond Glory: Re-presenting Terrorism, College of Art, Maryland Instiute, Baltimore 1991 Shocks to the System, Royal Festival Hall, London and Ikon, Birmingham [catalogue]; Storie, Galeria il Campo, Rome; Galeria Casoli, Milan; Europe Unknown, WKS Wawel, Krakow [catalogue]; A Place For Art?, The Showroom, London; Outer Space, Laing Art Gallery, Newcastle and touring Hull, London, Bristol [catalogue]; Political Landscapes, Perspektief, Rotterdam; Denonciation, Usine Fromage, Darnetal, Normandie, Touring to Centre d’Art Santa Monica, Barcelona & Hamburg [catalogue]; Gallery Artists, Oliver Dowling Gallery, Dublin 1990 The British Art Show, McLellan Galleries, Glasgow; Leeds City Art Gallery; Hayward Gallery, London [catalogue]; XI Photography Symposium Exhibition, Graz 1990 A New Tradition, Douglas Hyde Gallery, Dublin [catalogue] 1989 Matter of Facts, Metz pour La Photographie, Metz; Through the Looking Glass, Barbican Art Gallery, London [catalogue]; I Internationale Foto-Triennale, Esslingen, West Germany [catalogue]; Gallery Artists, Oliver Dowling Gallery, Dublin; Three Artists, London Street, Derry 1988 Ireland/Germany Exchange, Ulster Museum, Belfast; Bonn; Würzburg [catalogue]; Three Artists, Battersea Arts Centre, London; Matter of Facts, Musee des Beaux Arts, Nantes; Musee d'Art Moderne, St Etienne [catalogue]; Gallery Artists, Oliver Dowling Gallery, Dublin 1987 Directions Out, Douglas Hyde Gallery, Dublin [catalogue] North West Artists Association, Heritage Library, Derry; A Line of Country, Cornerhouse, Manchester [catalogue] The State of the Nation, Herbert Art Gallery, Coventry; Critic's Choice, City Art Gallery, Limerick; Oliver Dowling Gallery, Dublin; Ireland/Germany Exchange, Guinness Hop Store, Dublin 1986 Guinness Peat Aviation Exhibition, Dublin [catalogue] 1985 Points of View, Heritage Library, Derry 1983 New Artists, New Works, Project Centre, Dublin [catalogue]; Live Work, Artspace, Cork; Guinness Peat Aviation Exhibition, Dublin; Days and Nights, a slidework, Arts & Research Exchange, Belfast 1982 Live Work, Crescent Arts Centre, Belfast; Photographic Collages, King St. Gallery, Bristol; New Artists, New Works, Orchard Gallery, Derry 1981 Work Made Live, N.C.A.D., Dublin; Irish Exhibition of Living Art, Dublin [catalogue] Film work 1985 Picturing Derry, Faction Films for Channel 4, December Public work 1995 Make Believe, a poster project for British Rail Mainline Stations; The Space Between, video installation, El Puente de Vizcaya, Bilbao 1994 Installation, Washington Square Windows, Grey Art Gallery, New York 1993 Burnt-Out Car, street poster; An Irish Presence, Venice Biennale 1992 It's Written All Over My Face, Billboard Poster commissioned by the BBC Billboard Project as part of the Commissions and Collaborations season; A Nation Once Again, Street Poster commissioned by Transmissions Gallery, Glasgow as part of 'Outta Here'1990 False Dawn, Billboard Project organised by Irish Exhibition of Living Art Dublin 1988 Metro Billboard Project, Projects UK: Billboard shown in Newcastle, Leeds, Manchester, Derry and London; Art for the Dart: a project on Dublin's suburban rail link organised by The Douglas Hyde Gallery
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Bibliography
Reviews and Articles 2005 Willie Doherty:
Non-Specific Threat, Mark Durden, Portfolio 41, June
2004 The Double Space of Willie Doherty’s Re-Run, Maeve
Connolly, Film Waves, Issue 23; Non-Specific Threat III, Willie Doherty,
Vince Aletti, Village Voice, March 10 – 16; Willie Doherty, Alexander
& Bonin, Brian Sholis, Artforum online, Critics Picks, March
2003 Runners and riders for the Turner, William Packer, Financial
Times, November; The odds are on the rotters…, Charles Darwent,
The Independent on Sunday, November 2; Blown up out of all proportion,
Laura Cumming, The Observer, November2; They only do it to annoy, Martin
Gayford, The Observer, November 2; Shock art turns on the Tate, David
Smith, The Observer, November 2; Which way will the judges go?, Nick
Hackworth, Evening Standard, October 31; Maggots, skeletons, fear and death.
The Turner is back as healthy as ever, Neil Tweedy, The Daily Telegraph,
October 29; Ignore the naughtiness, Richard Dorment, The Daily Telegraph,
October 29; The brothers grim may win, but only for the X rating, Rachel
Campbell-Johnston, The Times, October 29; But the real shock is...the Essex
vases, Fiachra Gibbons, The Guardian, October 29; States of decay,
Adrian Searle, The Guardian, October 29; Four go mad at the Tate, Tom
Lubbock, The Independent, October 29; For adults only: sex and death dominate
Turner prize, Lousie Jury, The Independent, October 29; Sex dolls?
Maggots? It must be the Turner Prize, Dalya Alberge, The Times, October
9 2002 Willie Doherty, Peter Suchin,
Frieze, Issue 66, April, pp 99-100; Willie Doherty, Anthony Downey,
Contemporary, April, p 112; Willie Doherty, AN, April; ‘Perhaps’
is practically a lie, Declan Sheenan, CIRCA 99, Spring, pp 17-19; Willie
Doherty, Mark Currah, Time Out, No 1646, 16-23 March; Documenta x1
and the 25th São Paulo Bienal, Sotiris Kyriacon, Contemporary, March,
p 10; Willie Doherty, Cherry Smyth, Art Monthly, March 2002, No 254,
pp 30-31; Willie Doherty, Morgan Falconer, Art Review, February, pp
54-55; Remembering Bloody Sunday-and all the Rest, Louisa Buck, The
Art Newspaper, February, p 18; Retraces, Stephen Mitchell, Evening
Standard, 22 January, p 43; An Irish Challenge, East End Life, issue
391, 21-27 January; Willie Doherty, Nigel Prince, Untitled, No 27 Spring
Issue, pp 29-30 2001 Real Space Fictions,
Charles Derwent, Modern Painters, Autumn; EXIT Image and Culture: Crimes
and Misdemeanors, Madrid, Spain, February - March; Retraces Review,
Stephen Mitchell, Evening Standard, 22 January; Voice Choices: Willie Doherty,
Village Voice, 14-20 February: 89; 2000 Landscape,
Pryle Behrman, Art Monthly, No 241, November; Jane Humphries, Circa 94, Winter;
Willie Doherty: Extracts from a file, In Dublin, 21 September - 4 October;
Willie Doherty: Extracts from a file, The Sunday Times, 24 September;
Aidan Dunne, The Irish Times, 27 September; 1999 Carnegie International,
Katy Siegel, Artforum, January: p105-106; Very New Art 2000: Willie Doherty,
Bijutsu Techo 52, no. 782, Tokyo, January:108-109;
1999 Willie Doherty, The Press invented a fable..., Joe Linehan,
Third Text No 48, Autumn: 108-110; Sleuth, Sarah Hayton, SKIP Contemporary
Arts Magazine, Issue 7,Aug/Sept; Willie Doherty: The Renaissance Society,
Garrett Holg, ARTnews, Summer: 161-2; Willie Doherty, Ken Johnson,
The New York Times, 21 May: E3; Kathleen Maquay, World Art, Issue 16; Mark Swartz,
True Nature Show; Mythical Motherland, Jill Elaine Hughes, Chicago
Reader, 19 March; Caoimhin Mac GiollaLéith, Art Forum, February: 106-107;
Dark Stains: Film Noir Elements in the work of Willie Doherty, Keith
Patrick, Contemporary Visual Arts, Issue 23, Summer: 68 - 69; L’image
- Événement - Représentations de la Terreur dans L’louvre
- de Willie Doherty et de Gerard Richter, Vincent Lavoie, Parachute, Issue
93, Jan - March: 21 - 27 1998 Expanding
visual arts create major gallery demand, Ian Hill, Ulster Newsletter, 28
December; At the End of the Day, Ian Hunt, Tate magazine, Issue 16,
Winter; Tate Liverpool, Francesca Lourie, Big Mouth, October; Bright
Sparks, Robert Clark, Guardian, 19 September; Beauty & Cruelty,
Zaria Shreef, The Big Issue, 14-20 September; Troubled Landscape, Aidan
Dunne, The Irish Times, 9 September; Around the Galleries, Rachel Campbell-Johnston,
The Times, 8 September; Images War, Joe Riley, Liverpool Echo, 3 September;
Willie Doherty’s Visions of Northern Ireland, The Art Newspaper,
No. 84, September; Artist of the Month, Tatler, September: 73; Towards
a perfect monotony, James Austin, Independent, 1 September; Taste of
Ulster for SoHo, New York, Ian Hill, Ulster Newsletter, 14 September; Exhibition
Willie Doherty, Times Metro, 29 August - 4 September; The Terrible
Beauty that is N Ireland, Malcolm Handley, Daily Post, 31 August: 12; Mixed
Messages, Rebecca Cripps, Sainsbury’s The Magazine, August: 19; Cityscapes
Through a Dark Lens, Isé Claudine, Los Angeles Times, 9 April
1997 Being in Time: The Emergence of Video Projection, Elizabeth
Licata, Artnews, February; Willie Doherty, Aidan Dunne, The Sunday
Tribune, Dublin, 2 March; Willie Doherty, Luke Clancy, The Irish Times,
Dublin, 7 March; Must See: Same Old Story, Ally Ireson, D>tour,
July; Willie Doherty, John Slyce, What’s On, July; Irish Post,
12 July; Willie Doherty, Martin Herbert, Time Out, no. 1405, 23-30
July; Talk is Cheap, Adrian Searle, The Guardian, 26 July; Sacha Craddock,
The Times, 29 July; Willie Doherty, Sean Cubbit, Art Monthly, No. 208,
July/August; Willie Doherty: Art Gallery of Ontario:, Aoife Mac Namara,
Parachute 87, summer; Willie Doherty: Same Old Story, Maite Lores,
Contemporary Visual Arts, No.16, Autumn; Willie Doherty, Piers Masterson,
Creative Camera 347, August/September; Irischer Kunst-Reporter, Guiseppe
Cerrato, Schweitzer Ilustriert no. 37, 8 Sept.; Willie Doherty in der Galerie
Peter Kilchmann, Daniel Kurjakovic, Bulletin no. 9, September; Willie
Doherty: Matt’s Gallery, Michael Archer, Artforum XXXVI, no. 3, November;
Finding meaning in everyday objects, Jason A. Forrest, The Journal/The
Atlanta Constitution, 28 November; Willie Doherty, John Slyce, Flash
Art, November/December 1996 Willie Doherty,
Pia Lanzinger, Camera Austria International, no. 56; Swerved in Naught,
Brian Hand, CIRCA Art Magazine, Dublin: 22; Report from Ireland - Art at
the Edge (Part II), Judith Higgins, Art in America, April; Willie Doherty
- Alexander and Bonin, Gregory Volk, ARTnews, April; Willie Doherty
- Alexander and Bonin, David Frankel, May/June; Willie Doherty at Alexander
and Bonin, Eleanor Heartney, Art in America, September; Willie Doherty.
Thwarted Vision, David Green, Portfolio, no. 24, December
1995 Ten Artists to Watch Worldwide: Willie Doherty, Northern Ireland,
Jeffrey Kastner, ARTnews, January; Turner also-ran 15,000 favourite,
Aidan Dunne, The Tribune Magazine, London, February 26; Willie Doherty,
Kerlin, Caoimhin MacGiolla Leith, Flash Art XXVIII, No, 182, May/June;
Willie Doherty (interview), Tim Maul, Journal of Contemporary Art 7.2;
Willie Doherty: Jennifer Flay, Peneople Rowlands, ARTnews, summer;
Dominique Baque, Art Press No. 203, Parish, June; Willie Doherty, Simon
Maurer, Artscribe, October - November 1994
Willie Doherty, Interviewed by Iwona Blazwick, Art Monthly, No 172,
December 1993 - January 1994; Willie Doherty: Matt’s Gallery,
Andrew Renton, Flash Art, Vol XXVII no 174, Jan/Feb; Willie Doherty: Matt’s
Gallery, Jeffrey Kastner, frieze, Issue 14, London, Jan/Feb; Doherty,
Caroline Smith, What’s On, Jan 19-26; Willie Doherty, Caryn Faure
Walker, Arnolfini, Bristol, and Matt’s Gallery, London Portfolio, “The
Catalogue of Contemporary British Photography”, No. 19; Matt’s
Gallery im Londoner East End, Jens Pepper, Neue Bildende Kunst, February
/ March; Im Nachhinein Tracey Emin und andere, Michael Archer, Texte
zur Kunst, March; Northern Exposure, Caroline Smith, Irish Post, March
19; The Only Good One is a Dead One, Jaki Irvine, Third Text, Spring;
The Spine: de Appel , Amsterdam, Stuart Morgan, frieze Issue 16, May/June;
Muting the howls of the Philistines, Richard Cork, The Times, London
July 23;
Bluntly, the Tragedy of ‘the Troubles’, Roberta
Smith, The New York Times, September 9;
Willie Doherty, The New Yorker;
Willie Doherty, Mona Hatoum and Doris Salcedo, Roberta Smith, The New York Times, November 11;
Social Studies, Dan Cameron, Art & Auction, November;
Willie Doherty, Grey Art Gallery, Ingrid Schaffner, Artforum 33 no. 4, New York, December
1993
Willie Doherty: Matt’s Gallery, Rose Jennings, Time Out, December
8-15;
De Architect, Gravenhage, Holland, May;
Kreig, Edition Camera Austria, Graz
1992
La Recherche Photographique, 13, Paris;
Tom Lubbock, The Independent, March 3;
Terror to Scale, Martha McWilliams, New Art Examiner, April
1991
Photo, Vincent Aletti, Village Voice, New York, February 20;
They’re All the Same, Willie Doherty, a project for frieze,
Issue 2;
Same Difference: a project by Willie Doherty, Deborah Drier,
Artforum, New York, May;
Willie Doherty at Matt’s, Tony Godfrey, Art in America,
NewYork, January;
Willie Doherty: ICA, Rose Jennings, City Limits, January 31;
One Words, Sarah Kent, Time Out, London, February 13-20;
Ballai Doire, Padraig, O Conchuir, The Irish World, February 22;
Willie Doherty: Matt’s Gallery, Desa Phillipi, Artforum,
New York, January;
Outer Space, Patricia Scanlan, Variant 10, Winter;
City Sites: Willie Doherty, Unknown Depths, Sabina Sharkey, Creative
Camera, 306
1990
Permanent curfews, Malcolm Dickson, The List, Scotland, June
29 - July 12;
Photographs of Willie Doherty at Dowling, Brian Fallon;
An Acute Angle on Ireland, John Hutchinson, The Sunday Independent,
June 10;
Willie Doherty, Jaki Irvine, Circa Art Magazine, Dublin, September/October;
Same Difference: Matt’s Gallery, Rose Jennings, City Limits,
London, October 18-25;
Willie Doherty: Matt’s Gallery, David Lillington, Time Out,
London, October 17-24
1988
Colouring the Black and White, Christopher Coppock, Circa
Art Magazine, Dublin;
Creative Camera, London, December
1987
Directions Out, John Roberts, Artscribe International, pgs
73-74, Sept/Oct;
1986
Linking Text and Image, McCrum, The Sunday Tribune, January
26;
Redemption!, Brian McAvera, The Irish News, September 3
Publications
and exhibition catalogues 2002 Willie Doherty: False Memory
[monograph], Irish Museum of Modern Art and Merrell Publishers ltd. Carolyn
Christov-Barkargiev and Caoimhin Mac Giolla Leith (Eds.); Willie Doherty:
True Nature [monograph], The Renaissance Society Chicago, Caoimhin Mac
Giolla Leith (Ed); Willie Doherty: Re-run [monograph], exhibition brochure,
25 Bienial de Sao Paolo, Sao Paolo and The British Council, London, Charles
Merewether; Paises, 25 Bienal de Sao Paolo, 25 Bienial de Sao Paolo
and the British Council, London [catalogue] 2001
How It Was [monograph] Ormeau Baths Gallery, Belfast, Daniel Dewsbury;
The Inner State: The image of man in the video art of the 1990s, Kunstmuseum
Leichtenstein, Vaduz, Aoife MacNamara (Ed.); Trauma, curated by Kristina
Brown. Dundee Contemporary Arts and National Touring Exhibitions; Double
Vision, Galerie für Zeitgenössiche Kunst, Leipzig [catalogue], Andrea Schlieker
(Ed) 2000 Hitchcock and Art:Fatal Coincidences,
The Montreal Museum of Fine Arts; Shifting Ground - Fifty Years of Irish
Art, Irish Museum of Modern Art, Dublin [catalogue]; Video Art,
Michael Rush (Ed.), Thames and Hudson; Sources in Irish Art: a reader,
Fintan Cullen (Ed.), Cork University Press; Look Out Touring exhibition
organised by Art Circuit; Extracts From a File [monograph], Publikation
DAAD/Berliner Künstlerprogramm & Steidl Verlag, Gottingen, Germany (texts by
Friedrich Meschede, Eva Schmidt, Hans Joachim Neubauer); Moving Targets
2: A User’s Guide to British Art Now, Louisa Buck, Tate Gallery Publishing;
War Zones, Presentation House Gallery, Vancouver 1999
1999 Carnegie International, Carnegie Museum of Art, Pittsburgh; des
conflicts intérieurs, Saison Photographique d’Octeville, France; Landscape,
The British Council, London (texts by Ann Gallagher & Patrick Keiller); New
Media in Late 20th-Century Art, Michael Rush, Thames & Hudson 1998
Dark Stains [monograph], Koldo Mitexelena Kulturunea, San Sebastian
(essays by Maite Lorés and Martin McLoone); Real/Life: New British Art,
Tochigi Prefectural Museum of Fine Arts, Fukoma Art Museum, Hiroshima City Museum
of Contemporary Art, Museum of Contemporary Art, Tokyo, Ashiya City Museum of
Art & History, Japan; New Art from Britain, Kunstraum Innsbruck, Innsbruck;
Somewhere Else [monograph], Tate Gallery, Liverpool (essay by Ian Hunt)
1997 No Place (like home), Walker Art
Center, Minneapolis; Citta/Nattura, Palazzo delle Esposizioni, Rome;
Dimensions Variable, The British Council, London; Moving Targets:
A User’s Guide to British Art Now, Louisa Buck, Tate Gallery Publishing;
Pictura Britannica, ART FROM BRITAIN, Museum of Contemporary Art, Sydney;
same old story [monograph], Matt’s Gallery, London, Orchard Gallery,
Derry, Firstsite, Colchester (essays by Martin McLoone and Jeffrey Kastner);
The Turner Prize, Virginia Button, Tate Gallery Publishing 1996
No Smoke Without Fire [monograph], Matt’s Gallery, London; In the
Dark. Projected Works, Kunsthalle Bern, Bern (essays by by Carolyn Christov-
Bakargiev and Ulrich Loock); Willie Doherty [monograph], Musee d’Art
Moderne de la Ville de Paris, Paris (essay by Olivier Zahm); The Only Good
One is a Dead One [monograph], The Edmonton Art Gallery, Mendel Art Gallery,
Saskatoon, Canada (essay by Jean Fisher); The Only Good One is a Dead One
[monograph], Fundacao Calouste Gulbenkian, Lisbon; ID, Van AbbeMuseum,
Eindhoven; Being & Time: The Emergence of Video Projection, Albright-Knox
Art Gallery, Buffalo; Thinking Long: Contemporary Art in the North of Ireland,
Kinsale, C. Cork, Gandon Editions (essay by Liam Kelly) 1995
Make Believe, Royal College of Art, London; MMA/Glen Dimplex Artists
Award, The Irish Museum of Modern Art, Dublin 1994
The Spine, De Appel, Amsterdam; The Act of Seeing (Urban Space),
Fondation pour l’Architecture, Brussels; At the End of the Day, British
School at Rome, (essay by Carolyn Christov-Bakavgiev); Turner Prize 1994,
Tate Gallery, London 1993 Critical Landscapes,
Tokyo Metropolitan Museum of Photography, Tokyo; Prospect 93, Frankfurter
Kunstverein, Frankfurt; Partial View [monograph], Matt’s Gallery, London,
Douglas Hyde Gallery, Dublin and Grey Art Gallery and Study Center, New York
University (text by Dan Cameron) 1992 Perspektief
43, Perspektief, Rotterdam; 13 Critics 26 Photographers, Centre
D'Art Santa Monica, Barcelona; Molteplici Culture, Edizioni Carte Segrete,
Rome; La Recherche Photographique, 13, Paris 1991
Shocks to the System, South Bank Centre, London; Europe Unknown,
Ministry of Culture, Poland; Kunst Europa, AdKV, Germany; Inheritance
and Transformation, The Irish Museum of Modern Art, Dublin; Camera
Austria 37, Graz, Austria; Denonciation, La Difference/GNAC, France;
Outer Space, South Bank Centre, London 1990
The British Art Show, South Bank Centre, London; Unknown Depths
[monograph], Ffotogallery, Third Eye Centre and Orchard Gallery; A New Tradition,
Douglas Hyde Gallery, Dublin 1989 Through
the Looking Glass, Barbican Art Gallery, London; I Internationale Foto
Triennale, Esslingen 1988 An Interview,
Oliver Dowling, Dublin; Matter of Facts, Nantes, St. Etienne, Metz
1987 Directions Out, Douglas Hyde Gallery,
Dublin; A Line of Country, Cornerhouse, Manchester; Ireland/Germany
Exchange, Goethe-Institut Dublin, Arts Council of Ireland 1986
G.P.A. Exhibition catalogue, Dublin 1982
Irish Exhibition of Living Art, Dublin; 8 Weeks 8 Works, Orchard
Gallery Publications, Derry 1980 Artwork,
Orchard Gallery Publications, Derry