Kathy Prendergast

Kathy Prendergast, Interior with Light, 2018, MDF, black emulsion, 210.8 x 182.9 x 91.5 cm / 83 x 72 x 36 in 

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Kathy Prendergast, AF House 2 2018, giclée print, 42 x 59.4 cm unframed / 16.5 x 23.4 in unframed  

Kathy Prendergast, Atlas, 2016, set of 100 AA Road Atlas of Europe, ink, trestle tables, 30.5 x 43.5 x 1 cm / 12 x 17.1 x .4 in Atlas size each, 70.4 x 54.4 x 38 cm / 27.7 x 21.4 x 15 in table size each  

Kathy Prendergast, Atlas 4 SLIGO-BELFAST, 2016, AA Road Atlas of Europe, ink, 30.5 x 43.5 x 1 cm / 12 x 17.1 x .4 in 

Kathy Prendergast, Fujidelic, 2015-2016, ink on paper, 46 x 58 cm / 18.1 x 22.8 in unframed, 51 x 63 x 4 cm / 20.1 x 24.8 x 1.6 in framed

Kathy Prendergast, The World in 12 Pieces, 2014-15, modified maps in aluminum frames, 430 x 280 x 3 cm / 169.3 x 110.2 x 1.2 in

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Kathy Prendergast, Linz/Wien, 2014, Atlas, ink, 45 x 30.5 x 1 cm / 17.7 x 12 x .4 in 

Kathy Prendergast,
I,
2014,
glass,
29.5 x 17.5 x 17.5 cm / 11.6 x 6.9 x 6.9 in

Kathy Prendergast, Eclipse, 2014-15, painted globes, wood, 204 x 96.5 x 117 cm / 80.3 x 38 x 46.1 in

Kathy Prendergast
no title
2015
100 battery-powered clocks, paint, ambient sound
24.5 x 24.5 x 3 cm / 9.6 x 9.6 x 1.2 in each unit. (installed dimensions variable)ch

Chimborazo
2013
watercolour on printed paper
37 x 55.4 cm  / 14.6 x 21.8 in

Cotopaxi

2013
watercolour on printed paper
37 x 55.4 cm / 14.6 x 21.8 in image size 

The Land Describes Itself
2012
Ink on printed paper - set of 5
55.6 x 54.6 cm / 21.9 x 21.5 in each

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the gray before dawn

2009

Bronze and paint

52 x 57 x 68 cm / 20.5 x 22.4 x 26.8 in 

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BLACK MAP SERIES (Ukraine) 
2010
Ink on printed map
94.7 x 137.5 cm / 37.3 x 54.1 in 

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BLACK MAP SERIES (North America, Pacific North West) 
2010
Ink on printed map
99.4 x 115.5 cm / 39.1 x 45.5 in 

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Dark Embrace

2010

Kathy Prendergast

Bronze

30 x 25 x 31 cm

 

family tree

2009

Mixed media

73 x 103 x 5.5 cm / 28.7 x 40.6 x 2.2 in 

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Guardians

2010

Kathy Prendergast

Bronze

38 x 31 x 9 cm

 

small bouquet 2

2007

patinated bronze with paint

12 x 26 x 12 cm / 4.7 x 10.2 x 4.7 in 

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black bed

2007

patinated bronze with paint

10 x 158 x 96 cm / 3.9 x 62.2 x 37.8 in 

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small bouquet 1

2007

patinated bronze with paint

14 x 24 x 11 cm / 5.5 x 9.4 x 4.3 in 

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the steps up and the steps down

2007

patinated bronze with paint

10 x 49 x 36 cm / 3.9 x 19.3 x 14.2 in

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2006

water colour on paper

11.5 x 15 cm / 4.5 x 5.9 in

 

2006

water colour on paper

11.5 x 15 cm / 4.5 x 5.9 in

 

with brother, with husband, with father

2006

water colour on paper

11.5 x 15 cm / 4.5 x 5.9 in

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large bouquet 1

2007

patinated bronze with paint

28 x 24 x 9 cm / 11 x 9.4 x 3.5 in 

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Between Love and Paradise
2002
digital iris print
42 x 57 cm / 16.5 x 22.4 in   

 

Little Universe 2

2006

painted bronze

9 x 40 x 20 cm / 3.5 x 15.7 x 7.9 in 

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Lost
1999
Digital print on paper
85.5 x 180 cm / 34.8 x 70.8 in
Collection of the Tate

City Drawings Series - London-n13
1997
pencil on paper
31 x 21 cm / 12.2 x 8.3 in 

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Grave Blanket (Version 1)

1997
woolen blanket and marble chippings
108 x 71 cm / 42.5 x 28 in  

The End and the Beginning II

1996
three generations of human hair &  wooden spool
5.5 x 4 cm / 2.17 x 1.57 in

Land

1990
Canvas, paint  and  tent  poles 
234 x 620 x 358 cm / 92 x 244 x 141 in

Stack
1989
Cloth, string, paint and wood
270 x 260 x 70 cm / 106 x 102 x 27.5 in
Collection of Irish Museum of Modern Art

Kathy Prendergast in A Slice through the World: Contemporary Artists’ Drawings, installation view, Modern Art Oxford, 16 June – 9 September 2018. Photographer: Andy Stagg

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Kathy Prendergast, Atlas, Yokohama Triennale, 4 August – 5 November 2017

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Kathy Prendergast
Atlas
Kerlin Gallery, Dublin
29th October - 10th December 2016
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Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

Kathy Prendergast
OR
April 10 - June 13
© Jed Niezgoda, Crawford Art Gallery, Cork

the grey before dawn, part 2

23 October - 21 November 2009

Kerlin Gallery, Dublin

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the grey before dawn, part 1

08 June - 14 July 2007

Kerlin Gallery, Dublin

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  • Kinsale Arts Festival is proud to present Kathy Prendergast's solo show, The Furthest Place from the Centre of the Earth, of recent and existing works, providing a survey of her past work and future directions.

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.

 

Current exhibitions include The Freud Project: The Ethics of Scrutiny, Irish Museum of Modern Art, Dublin (15 February – 2 September);  But still, like dust, I'll rise, curated by Vivienne Dick, Galway Arts Centre (2 June – 6 July)  and A Slice through the World, Modern Art Oxford (16 June – 9 September). Recent solo exhibitions include 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 the 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.

 

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Dorothy Cross, Brian Maguire & Kathy Prendergast

Naked Truth, Crawford Art Gallery, Cork

13 July - 28 October 2018

This major exhibition surveys the nude and the naked body as depicted by Irish artists, focusing on interconnecting themes of political allegory, domestic intimacy, gender politics, artistic training, censorship, sexuality and display. The exhibition features work ranging from historic Sheela na-gigs, to artists including Francis Bacon, James Barry, Dorothy Cross, Robert Fagan, Amanda Coogan, Mainie Jellett and Brian Maguire.

 

Curated by William Laffan and Dawn Williams  

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Kathy Prendergast in A Slice through the World: Contemporary Artists’ Drawings

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.

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Kathy Prendergast in The Ethics of Scrutiny

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

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Kathy Prendergast in Yokohama Triennale 2017

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.

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Dublin Gallery Weekend

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.

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Kathy Prendergast, Black Maps

Gallery 2, Douglas Hyde Gallery, Dublin

18 November 2016 – 1 February 2017

Solo exhibition of artworks from Prendergast's Black Maps series.

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Kathy Prendergast, Atlas: A Reverie

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.

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Kathy Prendergast, Or

Crawford Art Gallery, Cork

10 April – 13 June 2015

Solo exhibition

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. 

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Kathy Prendergast

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.

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'Meditation on Plates'

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.

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'Re Framing the Domestic in Irish Art'

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.’[1]

 

A large-scale group exhibition featuring works by Kathy Prendergast, William McKeown, Isabel Nolan, Siobhan Hapaska, and Dorothy Cross.

 

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The Irish Times

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 Tipton

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ArtReview Asia

Yokohama Triennale: Islands, Constellations & Galapagos

Winter 2017

 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 Churchman

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ArtReview

10 exhibitions to see over summer

Summer 2017

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 Herbert

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The Irish Times

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 Dunne

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Artforum

Critic's Pick: Kathy Prendergast, Kerlin Gallery

November 2016

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 Tipton

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Art Monthly

Kathy Prendergast, PEER

April 2010

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 Trigg

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Irish Museum of Modern Art

Kathy Prendergast

2000

Artforum

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 Leith

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ART REVIEW; The Irish Struggle For a Visual Poetry To Call Their Own

Kathy Prendergast

1999

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 Smith

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Something More Exciting Than Ordinary Living

Kathy Prendergast

1997

Irish Arts Review

Sometimes you have to know from where it has come because that enriches what it now is but if there is no transformation then there is nothing.

- John McBratney

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