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Willie Doherty: Loose Ends 5–30 July 2017 | UNSEEN 27 September 2013–4 January 2014, City Factory Gallery, Patrick Street, Derry, Northern Ireland | Photo/text/85/92 18 April–27 May 2012 | Replays: Selected video works 1994-2007 23 January–16 March 2008 | Ghost Story at Artprojx 31 January 2008 | Retraces 23 January–17 March 2002 | same old story 11 June–3 August 1997 | The Only Good One is a Dead One 10 November 1993–30 January 1994 | Same Difference 3–26 October 1990 | Editions | Publications
|Willie Doherty | UNSEEN, 27 September 2013–4 January 2014 | City Factory Gallery, Patrick Street, Derry, Northern Ireland | Preview: Thursday 26 September|
UNSEEN is a major exhibition of photographic and video works by Willie Doherty.
Robin Klassnik, Director of Matt’s Gallery, London, who has worked with the artist since 1990, curates the exhibition with Pearse Moore, Chief Executive of Nerve Centre, Derry. UNSEEN will form a core element of the city’s 2013 Derry-Londonderry City of Culture celebrations.
The exhibition will provide a critical overview of Doherty’s photographs and videos made on the streets of his native city of Derry and its surrounding hinterland, presenting new insight into the artist’s working methods and rationale.
Since 1985 Doherty has recorded the way in which the city has been shaped and altered in response to unfolding political events as he explored its streets through the simple acts of walking and looking. The title of the exhibition, UNSEEN, refers to Doherty’s self-conscious method of using the camera in a context where it was imperative for him to avoid undue attention and to minimize the risk of being mistaken for a photojournalist or a tourist. The exhibition will reveal how Doherty has used the techniques of photojournalism, documentary landscape photography and the appropriation of images and texts to create a body of photographic work that explores the fine line between fiction and non-fiction.
UNSEEN will present approximately twenty photographic and four video works from throughout Doherty’s career and will examine how the artist evolved the use of image and text in his early black and white works (1985-92) to engage with the complexities of representing a contested landscape.
A number of works from Lapse, a series of black and white photographs made in the 1980s and early 1990s will be shown for the first time; Doherty here investigating how these neglected or 'lost' images shift between the present (and our knowledge and understanding of) the past.
Doherty’s large colour cibachromes (1993-99), exploit the heightened colour of this particular photographic process to create a body of work that plays with the promise of narrative potential, as the images oscillate unsteadily between the staged and the found, the before and after.
As part of this unique exhibition, Doherty will present a new group of photographs made this year in Derry, providing an opportunity for the artist to reflect on how the city has evolved and how his own working methods and processes continue to address the problem of photographing the contemporary city.
UNSEEN will showcase a number of Doherty’s most important video installations that place some of Derry’s best-known and more hidden sites as locations for his narratives.
At The End Of The Day (1994) is the earliest video work to be included and highlights Doherty’s interest in the border roads that surround Derry’s west bank and reveals his early use of circular repetition as a formal and metaphorical device within the video works.
The exhibition will include Re-Run (2002) a double screen video projection for which Doherty was shortlisted for the Turner Prize in 2003.
Ghost Story (2007), which was produced as part of Doherty’s representation of Northern Ireland at the Venice Biennale in 2007 will be shown for the first time in Derry.
Remains (2013), a new video work that Doherty has produced in Derry in 2013 will be included in the exhibition, having debuted at Art Unlimited at Basel 2013.Remainswas made in a number of locations in Derry that have been used since the early 1970’s to carry out kneecappings, a form of punishment shooting used to control drug use and other forms of so called ‘anti-social behaviour’.
UNSEEN will provide a unique opportunity to appraise the photographic and video work of Willie Doherty in the context where it was produced. The work will be subjected to a different scrutiny, one that has been shaped by an understanding of how things have turned out but is subject to the fallibility of human memory and like photography itself, cannot be relied upon to provide a full account of what happened.
The publication will re-publish Jean Fisher’s seminal text from 1990 on Doherty’s early photographic works, Seeing Beyond The Pale. Fisher has also written a new text Reflections that provides an overview of how Doherty’s work has evolved and responded to the changing socio-political context in Derry.
UNSEEN will include a new text by the internationally renowned Irish author, Colm Tóibín, that reflects on the now invisible border between the North and South of Ireland. Colm Toibin's novels include 'The Master' and 'Brooklyn' and his non-fiction work includes 'Homage to Barcelona' and 'Bad Blood: A Walk Along the Irish Border'.
A text by Susan McKay, the award winning Irish journalist and author of the critically acclaimed ‘Bear In Mind These Dead’ will explore the current situation in Derry in the difficult aftermath of the conflict.
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Selected Reviews and Articles 2012 Willie Doherty, Joshua Decter, Art Forum, May 2012, pp.309-310 2011 RTÉ Television - The View programme, 20 September 2011. Review of Disturbance at the Hugh Lane Gallery, Dublin by Irish Times online editor Hugh Linehan, art critic Cristín Leach and author and National Women's Council Director Susan McKay. 2009 Willie Doherty, Duncan Macmillan, The Scotsman, Edinburgh, May 12 2008 Willie Doherty, Maria Fusco, Frieze, London, No. 114, April, p. 171; Willie Doherty: Stories, Mathias Wrba, Camera Austria, Vienna, No 101, pp. 47–48; All eyes on Northern Ireland, Maria Fusco, Architects’ Journal, London, March 6, p. 51; Willie Doherty Replays: Selected video works 1994-2007, Peter Suchin, Art Monthly, London, No. 314, March; Selected Exhibitions. Willie Doherty, Art World, London, No. 3, Feb. / March; Willie Doherty, Dazed & Confused, No. 58, Feb.; Ghost Story London, The Guide. The Guardian, London, Jan. 26 – Feb. 1; Troubles in mind, Gabriel Coxhead, Time Out, London, Jan. 23–29; Willie Doherty: Replays, Jean Wainwright, Art Review, London, No. 21, April, p. 129 2007 Das Gefühl von Gefahr, Brita Sachs, Frankfurter Allgemeine, Frankfurt, Nov. 22, p. 38; Willie Doherty, Katrin Luz, Kunstforum International, Ruppichteroth, Bd. 188, Oct – Nov, pp. 386–388; Grauzonen des Daseins, Belinda Grace Gardner, Kunstzeitung, Rebensburg, p. 14; Venice Biennale review, Marcia E. Vetrocq, Art in America, New York Sept.; Willie Doherty, Michael Wilson, Artforum, New York, No. 7, March, p. 314; Biennale Venedig, Eva Scharrer, Kunst-Bulletin, No 7/8, July-Aug. pp. 42–48; Willie Doherty, Monopol, Berlin, No. 5, May, p. 121; Unmittelbarer Appell an Emotionen, Ursula Herrndorf, Museumswelt, Hamburg, June–August; Die Mehrdeutigkeit entschlüsseln, Herrndorf, Ursula, Hamburger Abendblatt, Hamburg, 2./3. Juni, p. 8; Willie Doherty, Schulze, Karin, Financial Times Deutschland, Hamburg, 23. May 2007; Willie Doherty, Jens Ullheimer, Kunstschau, Hamburg, May 17 Venezianische Geographie, Der Spiegel, Hamburg, No. 21, 21.05.2007, p. 151; Unbestimmte Angst vor etwas Schrecklichem, Die Welt, Hamburg, 22. May; Abseits der Irland-Romantik, Fell-Zeller, Judith, Hamburger Morgenpost, Hamburg, 20. May, p. 17; PreView: Willie Doherty, Gärtner, Barbara, Monopol, Berlin, No. 9, September, pp. 114–117 2006 Willie Doherty, Scharrer, Eva, Artforum, Critic’s picks, Nov.; Reflexividad sin reflexión, Medina, Cuauhtémoc, Reforma, Mexico, Oct. 25, p. 12; Der irische Künstler Willy Doherty zeigt neue Video- und Fotoarbeiten in der Galerie Nordenhake, Völzke, Daniel, Tagespiegel, Berlin, Jan. 14 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 Selected Publications and exhibition catalogues 2016 Willie Doherty: HOME, ex cat. Villa Merkel, Galerien der Stadt, Esslingen am Neckar 2015 Willie Doherty: Again and Again. ex cat. (essays by Isabel Carlos and Declan Long), CAM-Fundação Calouste Gulbenkian, Lisbon 2013 UNSEEN, ex. cat. (essays by Robin Klassnik, Jean Fisher, Colm Tóibín and Susan McKay), London: Matt’s Gallery; Derry: Nerve Centre 2012 Photo/text/85/92/ Matt’s Gallery, London and Alexander and Bonin, New York 2011 Willie Doherty: DISTURBANCE, Willie Doherty, Barbara Dawson, Dublin City The Hugh Lane, ex cat; Unfinished, Peo Aguirre, Galeria Moises Perez de Albeniz, Pamplona, ex.cat; Aschemunder, Goetz Collection at the Haus der Kunst, Edited by Ingvild Goetz and Stephan Urbaschek, Hatje Cantz, ex cat 2010 Manifesta 8, Edited by Jonathan Turner and Ana Lozano, Silvana Editoriale 2009 Willie Doherty. Buried, Fiona Bradley, The Fruitmarket Gallery, Edinburgh, ex. cat.; Requisite Distance. Willie Doherty, Charles Wylie, Dallas Museum of Art, Yale University Press, New Haven and London 2008 The Visitor. Willie Doherty, The Douglas Hyde Gallery, Dublin, ex. cat. 2007 Ghost Story. Willie Doherty, Fondazione La Biennale di Venezia, Venice, June, ex.cat; Think with the senses, feel with the mind. Participating countries, collateral events, Fondazione La Biennale di Venezia, Venice, June, pp. 320–323; Willie Doherty, Yilmaz Dziewior, Matthais Mühling, Kunstverein Hamburg, Hamburg, Lenbachhaus, Munich, Hatje Cantz, Ostfildern, ex.cat. 2006 Willie Doherty: Out of Position, Mariana Munguía, Laboratorio Arte Alameda, Mexico City; The Portrait Now, Nairne, Sandy, Howgate, Sarah, National Portrait Gallery, London, cat., pp. 110–111; ARS 06 / Sense of the Real, Karjalainen, Tuula, Vanhala, Jari-Pekka, Museum of Contemporary Art Kiasma, Helsinki, ex.cat, Jan., pp. 29–30, 112-115 2005 51. International art exhibition / The experience of Art, Fisher, Jean, La Biennale di Venezia, Venice, ex.cat., June, pp. 70–75; Non-Stop, Hoffmann, Justin, Kunstverein Wolfsburg, Wolfsburg, ex.cat., May, pp. 5–9, 38–39, 82; Belonging: Sharjah Biennial 7/where here is elsewhere, Fisher, Jean, Sharjah Art Museum, Sharjah; The Shadow, Buhl Andersen, Christine, Westsjaellands Kunstmuseum, Soro, ex.cat., May, pp. 44–47; Place, Dean, Tacita & Millar, Jeremy, Thames & Hudson, London, pp. 116–117, 195; Reprocessing Reality, Spinelli, Claudia, JRP Ringier, Zurich, Chateau Nyon, Nyon, ex.cat. Apr., pp. 90–96, 204 2004 Willie Doherty, Klapp, Friederike, 3. Berlin Biennale für Zeitgenössiche Kunst, Berlin, ex.cat., pp. 64–65, 178 2003 Cambio De Valores/The Rings of Saturn, Pérez, Luis Francisco, a.o., Fundacion ARCO, Madrid & Centro Gallego de Arte Contemporanea (CGSC), Santiago de Compostela, Nov., pp. 44–45, 171, 182-193; Itinerario de la exposicion, de Nieves, Juan, Papers de L'EACC, Espai d'art contemporani, Castello, 7 Nov. – 14 Dic., pp. 7, 10–11 Turner Prize 2003, Tufnell, Ben, Tate Britain, London, pp. 2, 3–4, 13 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 São Paulo, São Paulo and The British Council, London, Charles Merewether; Paises, 25 Bienal de São Paulo, 25 Bienial de São Paulo 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