Dorothy Cross, Brian Maguire & Kathy Prendergast
Naked Truth, Crawford Art Gallery, Cork
13 July - 28 October 2018
Curated by William Laffan and Dawn Williams
b. 1958, Dublin. Lives in London, UK
A sculptor of quiet but immense sophistication, Kathy Prendergast’s work has persistently revolved around a potent cluster of issues, chief among which are sexuality, identity, landscape, mapping and power. Over the past decade, her work has incorporated maps modified in various ways to take on emotional and personal resonances. Though non-didactic, Prendergast’s cartographic interventions also belie shifting power structures, subtly dismantling the narratives of imperialism and colonialism, and revealing the fragility of political gestures through acts of erasure and transformation. Though enigmatic and eerily beautiful, Prendergast’s works are often marked by a sense of misdirection or loss.
In 2018, Prendergast won the first annual David and Yuko Juda Art Foundation Award. Forthcoming solo exhibitions include Kunst-Station Sankt Peter, Köln, Dublin (Summer 2019). Recent solo exhibitions include Atlas, Kerlin Gallery; Douglas Hyde Gallery, Dublin (2016); Crawford Art Gallery, Cork (2015); PEER, London (2010); Douglas Hyde Gallery (2006); the Irish Museum of Modern Art (2000) and Tate Britain (1997). Group exhibitions and biennales include A Slice Through the World, MoMA Oxford; The Freud Project, Irish Museum of Modern Art (both 2018); Yokohama Triennale (2017); Tate Britain (2012); Berardo Museum, Lisbon (2011); Irish Museum of Modern Art (2008); 14th Sydney Biennale (2004); 13th Sydney Biennale (2002); Albright-Knox, Buffalo (2001); ICA, Boston (2000); MoMA PS1, New York (1999). In 1995, Prendergast represented Ireland at the 46th Venice Biennale, for which she won the prestigious Premio Duemila Prize.
Prendergast is represented in the collections of the Tate, London; the British Government; the Cheekwood Museum of Art, Nashville; Santa Barbara University Museum; the Albright-Knox, Buffalo; the Contemporary Museum, Honolulu; Dublin City Gallery The Hugh Lane; the Irish Museum of Modern Art, Dublin; Contemporary Arts Society, London alongside numerous private collections in Ireland, Great Britain, Europe and the USA.
Naked Truth, Crawford Art Gallery, Cork
13 July - 28 October 2018
Curated by William Laffan and Dawn Williams
Modern Art Oxford
16 June – 9 September 2018
Modern Art Oxford and Drawing Room jointly present A Slice through the World, a group exhibition that celebrates the sustained power of drawing in the digital age.
15 February – 2 September 2018
Kathy Prendergast's work will be included in The Ethics of Scrutiny, curated by Daphne Wright for IMMA Collection: Freud Project.
Islands, Constellations and Galapagos
4 August – 5 November 2017
Kathy Prendergast's Atlas will be included in the 2017 Yokohama Triennale. The exhibition this year is titled Islands, Constellations and Galapagos. Venue: Yokohama Red Brick Warehouse No.1.
25–27 November 2016
Kerlin Gallery is delighted to be participating in Dublin Gallery Weekend.
We will have three social events taking place over the course of the weekend, plus extended opening hours for our current exhibition by Kathy Prendergast.
Gallery 2, Douglas Hyde Gallery, Dublin
18 November 2016 – 1 February 2017
Solo exhibition of artworks from Prendergast's Black Maps series.
12 Star Gallery at the Europe House, London
20 July – 9 September 2016
The artist will present up to 38 framed images and one freestanding work using the AA Road Atlas of Europe as a basis to explore the notion of migration and settlement.
Crawford Art Gallery, Cork
10 April – 13 June 2015
This exhibition brings together new work by Kathy Prendergast, an artist whose sensitivity to issues of individual and collective existence has resulted in some of the finest work made over the past three decades.
The Furthest Place from the Centre of the Earth
19 - 28 September 2014
The Mill, Kinsale Arts Festival
Kathy Prendergast presents a solo show of recent and existing works at the Mill as part of the Kinsale Arts Festival, providing a survey of her past work and future directions.
Dorothy Cross, David Godbold, Richard Gorman, Stephen McKenna & Kathy Prendergast
12 July - 31 October 2014
Casino Marino, Dublin
The Office of Public Works will present an exhibition 'Meditation on Plates: Inspired by Lord Charlemont's Casino' in one of Ireland's most highly regarded historic buildings, the Casino at Marino, Dublin.
A group of almost 40 esteemed Irish and international artists, designers and architects was invited to respond to the Casino building, some of its ornamental elements or surroundings in a personal drawing. The artists' drawings have been transferred onto porcelain plates and reproduced in a limited edition of 18 plates per artist. The resulting collection is rich in its variety of interpretations and the quality and beauty of the work.
Kathy Prendergast, William McKeown, Isabel Nolan, Siobhan Hapaska, Dorothy Cross
29 April - 29 August 2014
Highlanes Gallery, Drogheda
‘Home is no longer a dwelling but the untold story of a life being lived.’
A large-scale group exhibition featuring works by Kathy Prendergast, William McKeown, Isabel Nolan, Siobhan Hapaska, and Dorothy Cross.
Céad míle fáilte? The true meaning of hospitality
30 April 2018
"Kathy Prendergast’s Black Map Series shows maps from various parts of the world, blacked out save for white dots where humanity has congregated in numbers to form towns and cities. It is a beautiful testament to the fragile, yet persistent strength of human endeavour. Beyond those anonymous, placeless dots, it’s up to us to make that endeavour both caring, and yes, truly hospitable too."—Gemma TiptonVisit Website
Yokohama Triennale: Islands, Constellations & Galapagos
A parallel form of perspective is provided by Kathy Prendergast’s Atlas (2016) at Yokohama Red Brick Warehouse No 1. A hundred road maps of Europe are laid open on trestle tables filling an entire room, each spread inked-out black except for the cities and towns, forming a new kind cartography that rejects notions of borderlines and territory. The volume of atlases becomes a night sky that encourages visitors to search through the tiny specks of civilisation like we would the stars on a clear evening. Both works remind us, through a macroperspective, of our place in Earth’s history.—Fi ChurchmanVisit Website
10 exhibitions to see over summer
Yokohama Triennale, various venues, Yokohama, 4 August – 5 November
Looking positively frequent in comparison, this year’s Yokohama Triennale – three of these for every one of König’s, for those who failed maths – adopts the titular theme of Islands, Constellations & Galapagos, intending thereby to refer to the contradictory nature of our current reality: strongly interconnected on the digital level but also ever more defined geopolitically by protectionism and isolationism, these driven in turn by populism and xenophobia. Aiming to think that through in a city famously defined by a node of connection – its port – the triennale this time convenes some 40 artists or groups from Japan and the rest of the world, fewer than usual in order to give each one something like a solo presentation. An archipelago or constellation of practices, then, to privilege some increasingly familiar terminology. And who’s big in Japan? Biennale stalwarts like Ai Weiwei, Olafur Eliasson and Ragnar Kjartansson, yes; but also choices such as Irish cross-media artist Kathy Prendergast, Tsuyoshi Ozawa (maker some years ago of a fictional museum of ‘soy sauce paintings’) and sort-of-Young British Artist Alex Hartley.—Martin HerbertVisit Website
Art review: unexpected views at ‘Slips and Glimpses’ and the world map reimagined
6 December 2016
[Prendergast] is not prescriptive about the meaning of the maps, but they do invite interpretation. She removes layers of information to bring to the fore an essential truth. The amended maps evoke, for example, a sense of common humanity, emphasising the fact that humans are isolated beings clinging to life on a small planet speeding through a vast darkness. This at a time when borders, divisions, exclusion and sectarianism are all to the fore.—Aidan DunneVisit Website
Critic's Pick: Kathy Prendergast, Kerlin Gallery
Kathy Prendergast has long made a practice of maps. From her 1983 series of watercolors “Body Maps,” which conflated cartography with the female body, to her delicate “City Drawings,” 1992, which won her the Premio Duemila at the 1995 Venice Biennale, she has proven her observation that “all maps are subjective,” with fresh explorations that address naming, control, personal memory, borders, and exclusion.
For Atlas, 2016, Prendergast has laid out one hundred copies of the AA Road Atlas of Europe, each open to a different page, on as many trestle tables. By painstakingly blacking out all but the white dots signifying settlements, she imagines a Europe freed from territories, boundaries, frontiers, and networks of roads and rivers. Instead, each point glows, defiant in the darkness, yet also somehow lonely.
The outlines of Ireland are clear enough, spread across two sets of pages, but navigating around the tables—which are laid out in a rough schematic of the continent, and further into Central Europe—additional moments of darkness appear. Are these voids seas, lakes, national parks, or perhaps just inhospitable places? Presented as a single installation, this is a powerful work—cultural differences are leveled, while the tiny white dots reveal the tenacity of human endeavor. Our relative smallness among mountains and oceans is utterly laid bare.—Gemma TiptonVisit Website
Kathy Prendergast, PEER
At first sight, you'd be forgiven for surmising that Kathy Prendergast's 'Black Maps' are an attempt to chart the outer regions of the galaxy. Large and austure, these inky works on paper are peppered with white dots, like a starry night sky. Closer insepcection, however, reveals a far more terrestrial concern, for these are, in fact, effaced road maps.—David TriggDownload PDF Visit Website
Although it was billed as a midcareer retrospective, only two of the works included in "The End and the Beginning" dated from before the past three years, but one of these was the result of many years of Herculean labor. Kathy Prendergast has been a notable presence in Irish art since the early '80s, when, as a student, she produced her first map works--a time when the trope of the map was by no means as ubiquitous in contemporary art as it was subsequently to become. The inevitable centerpiece of this show was the most extensive presentation to date of Prendergast's series of pencil drawings of all of the world's capital cities, begun in 1992 and …
- Caoimhin Mac Giolla LeithVisit Website
The New York Times
Siobhan Hapaska is here, with sculptures in formed plastic whose surface perfection is as sleekly enigmatic and as unsatisfying as ever. And so is Kathy Prendergast, who burst on the international scene at the 1995 Venice Biennale with delicate maps of the world's capitals. Here she marks time in several senses of the word.
This time her drawings crowd together all the world's lakes and rivers, reducing explicit geography to seemingly random marks. She also shows several beautifully wrought sculptures that attempt to capture life's circular rhythms and sometimes succeed.
I recommend her ''Grave Blanket,'' an intimidating object made with white yarn and marble chips, and ''The End and the Beginning II,'' a spool of thread made with three generations of human hair. More obvious and less interesting is ''The End and the Beginning I,'' which consists of a baby's bonnet adorned with strands of white hair.
- Roberta SmithDownload PDF Visit Website