William McKeown

William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
48 x 48 cm / 18.9 x 18.9 in   
William McKeown,  Cloud Cuckoo Land, 2008-2014, wallpaper, dimensions variable, with Painting No. 325 (2009 - 2011), oil on linen, 48 x 48 cm / 18.9 x 18.9 in
Installation view Chance Encounters II LOEWE, Miami 28 November 2016 – 31 March 2017
Additional Views
William McKeown,
Hope painting - the sky inside,
2007,
oil on linen,
48 x 48 cm / 18.9 x 18.9 in  
William McKeown,
The Dayroom,
2004-2010 (Recreated 2012),
wood, paint, electrics,
dimensions variable
Additional Views
William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
48 x 48 cm / 18.9 x 18.9 in
William McKeown,
The Waiting Room, The Golden Bough,
2011,
Dublin City Gallery, The Hugh Lane
William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
48 x 48 cm / 18.9 x 18.9 in 
William McKeown,
certain distance, endless light,
2010,
William McKeown (with Felix Gonzalez-Torres),
Middlesbrough Institute of Modern Art
William McKeown,
The Morning Room,
2010,
Ormeau Baths Gallery
Additional Views
William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
48 x 48 cm / 18.9 x 18.9 in
William McKeown,
Painting No. 325,
(2009 - 2011),
oil on linen,
48 x 48 cm / 18.9 x 18.9 in
William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
45.3 x 45.5 cm / 17.8 x 17.9 in 
William McKeown,
Untitled,
(2009 - 2011),
oil on linen,
182 x 168 cm / 71.7 x 66.1 in
Additional Views
William McKeown,
The Lane,
2008,
oil on linen,
182 x 168 cm / 71.7 x 66.1 in 
Additional Views
William  McKeown 
Open Drawing - Primrose 
colouring pencil on paper
28 x 25 cm / 11 x 9.8 in   
  
William McKeown,
The Barleyfield,
2008,
oil on linen,
182 x 168 cm / 71.7 x 66.1 in
Additional Views
William McKeown 
Untitled (2009 - 2011)
oil on linen
45.5 x 45.5 cm / 17.9 x 17.9 in   
William McKeown 
Untitled (2009 - 2011)
oil on linen
48 x 48 cm / 18.9 x 18.9 in   
William McKeown 
Chance Encounters II
LOEWE, Miami
28 November 2016 – 31 March 2017
Additional Views
WE ARE THE CENTER FOR CURATORIAL STUDIES
Hessel Museum of Art, CCS Bard
October 15, 2016 - December 16, 2016
William McKeown
Cloud Cuckoo Land
Kerlin Gallery
16 October - 21 November 2015
Additional Views

A Room

2 March - 14 April 2012

Kerlin Gallery, Dublin

A Room

2 March - 14 April 2012

Kerlin Gallery, Dublin

A Room

2 March - 14 April 2012

Kerlin Gallery, Dublin

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

 

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

William McKeown (1962-2011)

12 May - 8 July 2012

Inverleith House, Edinburgh

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Waiting Room

03 February 2011 - 01 May 2011

The Hugh Lane Gallery, Dublin

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

The Sky Begins At Our Feet
2002
Ormeau Baths Gallery, Belfast

b. 1962, Tyrone, Northern Ireland.
 
William McKeown was born in Tyrone, 1962, and was living and working in Edinburgh at the time of his death on October 25, 2011. In the 16 years since he first exhibited at Kerlin Gallery, William McKeown developed a body of work that has had a radical and fundamental effect on our understanding of the age-old relationship of art to nature. The foundation of McKeown's work and life was his belief in the primacy of feeling. His paintings took on the guise of objective minimalism and the monochrome, but presented us with so much more; nature as something real, tangible, all around us, to be touched and felt. Through subtle gradation of tone, a highly refined use of colour, and his enchanting, 'room' installations, McKeown created moments of exquisite beauty and bliss. He steered our attention not to the distant sky but to the air around us, to the openness of nature, the feeling of our emergence into light and our proximity to the infinite.

Current exhibitions include Chance Encounters II, a two-person exhibition at the LOEWE Miami Design District store. Past solo exhibitions include Lismore Castle Arts, Co. Waterford (2013); Inverleith House, Edinburgh (2012); Dublin City Gallery The Hugh Lane (2011); Irish Museum of Modern Art, Dublin (2008); Douglas Hyde Gallery, Dublin (2004, 2001) and Project Arts Centre, Dublin (2003). Two-person exhibitions include Traces of Light with Félix González-Torres, Middlesbrough Museum of Modern (2010) and Pool with Dorothy Cross, Kerlin Gallery (2010). In 2005, McKeown represented Northern Ireland in the 51st Venice Biennale.
Download PDF

TWO x TWO for AIDS and Art 2017

Benefit Auction, Dallas

28 October 2017

Kerlin Gallery is delighted to participate in this year's TWO x TWO auction, which raises money for the AIDs research foundation amfAR and the Dallas Museum of Art. For the 2017 benefit auction, Kerlin Gallery will donate artworks by Willie Doherty and William McKeown.

More Info


William McKeown, Chance Encounters II

LOEWE Miami Design District

28 November 2016 – 31 March 2017

Two-person exhibition by William McKeown and John Ward, presented by LOEWE FOUNDATION in association with Kerlin Gallery and The William McKeown Foundation.

More Info


We are the Center for Curatorial Studies

CCS Bard, Annandale-on-Hudson, New York

15 October – 16 December 2016

Curated by Paul O’Neill. Exhibiting artists: Can Altay, Martin Beck, David Blamey, Gerard Byrne, Nina Canell, Jasmina Cibic, Céline Condorelli, Sara Cwynar, Marjolijn Dijkman, Mary Heilmann, James Hoff, Vlatka Horvat, Matt Keegan, Chris Kraus, Gareth Long, Ronan McCrea, William McKeown, Ulrike Müller, Museum of American Art Berlin, Brian O’Doherty, Harold Offeh, Eduardo Padilha, Sarah Pierce, Falke Pisano, Elizabeth Price, Richard Venlet, Anton Vidokle, Lawrence Weiner, Grace Weir, Arseny Zhilyaev, and others.

More Info


The Untold Want

Royal Hibernian Academy, Dublin, Ireland

13 March – 26 April 2015

Group exhibition

Works by William McKeown and Dorothy Cross are included in 'The Untold Want', a major group exhibition at the Royal Hibernian Academy, Dublin. The exhibition will examine notions of immensity, nature, mortality and freedom.

More Info


New Art New Nature

Dorothy Cross, Willie Doherty, Siobhan Hapaska, William McKeown, Paul Seawright

10 October 2014 - 28 June 2015

Ulster Museum

A new exhibition examining the role of nature in the work of Irish and International artists over the past seventy years opens to the public at the Ulster Museum. New Art, New Nature includes work by world-renowned figures including Henri Matisse, William Scott and Willie Doherty.  Paintings by one of Northern Ireland’s most important artists of the last century, William McKeown, will also be displayed at the museum for the first time, together with work by Dorothy Cross, Siobhan Hapaska and Paul Seawright amongst others.

More Info


Into the Field

William McKeown

11 October 2014 - 11 January 2015

The Model, Sligo

Also featuring artists Odey Curbelo, Olafur Eliasson, Spencer Finch,Helen McMahon, Tumi Magnusson, Paula Stokes, Norbert Vollath, Jack B Yeats. Curated by Marie-Louise Blaney.

 

“The world and the universe contain elements that cannot be articulated or contained using the codes, language and meaning with which we try to make sense of our lives. But our world is somewhere we can feel, and feel reassuringly part of in those moments that the boundaries between us and it dissolve.” - William McKeown

More Info


'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.

 

More Info


William McKeown

Inverleith House, Edinburgh

12 May 2012 - 08 July 2012

Inverleith House, Royal Botanic Gardens Edinburgh

We all look at it as we wake up, and again as we leave our homes in the morning, throughout the day and before we go to sleep; our eyes have evolved to sense it acutely and green plants harness its energy, mostly in the blue and red regions of the spectrum, which is why they appear green: it is the light that makes life on earth possible. Yet as a subject for art it is relatively ignored. The Californian sculptor James Turrell uses it as a primary art material, building 'Sky spaces' - enclosures open to the sky to present light as solid colour. The German Romantic Landscape painter Caspar David Friedrich (1774 - 1840) notably captured the sublime qualities of the sun at dawn and dusk and of the moon at night.

More Info



Dallas Museum of Art Uncrated

Day Break

29 June 2016

In a quiet corner of the DMA’s Barrel Vault, a recent acquisition to our contemporary collection sits inconspicuously in the Hanley Quadrant Gallery. Installed in March as part of Passages in Modern Art: 1946-1996, William McKeown’s The Dayroom references spaces found in institutions associated with illness and aging—hospitals, retirement centers, convalescent homes. Via artificial lighting, washed-out yellow walls, and a confining boxlike structure, McKeown attempts to mimic the disquieting artifice that pervades these rooms, which are often decorated with brightly colored wallpaper and works of art that attempt to cheer up an otherwise morbid space.

[…]

Visit Website

The Irish Times

Five artists reinvent the Monument at Lismore Castle

10 May 2013

[…]

[McKeown]'s spare, abstract-looking paintings of the early morning light were direct responses to the dawn at Lismore. The thin dark borders that frame the radiant centres of his compositions were derived from the windows that framed his view of the sky. The succession of individual cells in the convent also led to the development of another feature of his work: the rooms within rooms he used in several gallery installations.

In 2004 he returned to the convent when he was invited to show at the Northern Ireland Pavilion in the Venice Biennale. Setting up a canvas in each cell, he moved from room to room, tracking and painting the light from the beginning of dawn. The watercolours and acrylics on view at St Carthage were all painted at Lismore, and one painting has never been previously exhibited. It’s a fitting tribute.

Aidan Dunne


The Sunday Times

Art: William McKeown

12 May 2013

When he participated in the Hugh Lane Gallery’s Golden Bough exhibition series in 2011, the late William McKeown wrote that he had been fascinated since childhood by “the buoyant liminal space between earth and heaven”. For him, this included the idea of a daily transition from dark into light.

The paintings in this show depict morning sky. His three Hope Drawings in pale watercolour dissolve from blue to orange or smoky grey to yellow. He painted them so it is impossible to identify where one colour ends and the other begins. The slow change in the rich blue of Forever Painting #3 is less a fading towards the end of the canvas than an intensification of a kind of implied translucency. A buttercup rendered in coloured pencil completes what is an intimate, understated exhibition.

[…]

Cristín Leach


Cassone

Interesting Inverleith and beautiful botanics

July 2012

[…]

One of the current exhibitions, William McKeown (1962–2011) (until 8 July) celebrates the work of the Tyrone-born artist who was based in Edinburgh at the time of his early death. His deceptively simple paintings positively glow across the rooms, minimalist studies in light, luminosity, and gradations of colour and tone. Much of his work comprised an investigation into how to see and feel air and light, and the relationship between art and nature. Some of the works are almost monochrome, delicate and deep, near and distant. They repay unhurried contemplation.  

[…]

Patricia Andrew


ArtReview

William McKeown: A Room

May 2012

A few telling, gentle incongruities surround the practice of Tyrone-born painter William McKeown, who died earlier this year and to whose art this current small show at Kerlin is, more than an exhibition would usually be, a kind of testament. From the outset, there was always something contra-modern about the artist’s work, despite the evidence of his dedication to minimalist abstracts. It was always possible to read his work as rooted in post-1950s painting theory, but the paintings maintained an ability to resist this every bit as consistently as they avoided explicit references to the conflicts of the artist’s homeland.

[…]

Luke Clancy

Visit Website

The Guardian

This week’s new exhibitions: William McKeown

24 March 2012

William McKeown has been sorely missed since his untimely death late last year. Here was an artist who reminded many of us of why we got into art in the first place: the pure thrill of opening one's first box of paints, the wide-eyed amazement at seeing an expanse of abstract colour taken so seriously in a gallery. His paintings, building up sensitivity from layers of resonant colour, are almost painfully uncomplicated. McKeown charms us into just looking, but it's an illuminating kind of looking. In his own words: "There are two types of art – open and closed. All closed art is negative and anti-life. Art which is open is … expanding, positive and life-enhancing."

Robert Clark


Whitehot Magazine

Felix Gonzalez-Torres & William McKeown @ MIMA

April 2010

[…]

William McKeown’s first contribution, The Dayroom, is an approximation of a hospital or residential living or waiting room, in which, according to the wall text, one might receive pleasing or devastating news. Constructed cheaply and sparely in wood and board, the simple, cubed space appears to make reference not only to commonplace social pressures (and the architecture that contains them) but also specifically to Krauss’ treatment of the grid, mentioned earlier. Looking through the makeshift room’s only window, a modestly sized blue-grey and yellow grid painting is visible directly in one’s line of sight. This viewing position brings to mind the symbolist window, with its desirous, metaphysical implications. Yet, like the painted grid’s materialist mapping of the canvas surface, the rough plasterboard and two-by-four supporting the window brings the viewing experience back down to earth all too soon.

[…]

Becky Hunter