William McKeown, The Extended Mind
Talbot Rice Gallery, Edinburgh
2 November 2019 - 1 Februray 2020
Talbot Rice Gallery, Edinburgh
2 November 2019 - 1 Februray 2020
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.
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.
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.
Royal Hibernian Academy, Dublin, Ireland
13 March – 26 April 2015
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.
10 October 2014 - 28 June 2015
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.
The Model, Sligo
11 October 2014 - 11 January 2015
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
Highlanes Gallery, Drogheda
29 April - 29 August 2014
‘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.
St. Carthage Hall, Lismore Castle Arts
20 April - 30 June 2013
The summer programme at St Carthage Hall opens with a solo exhibition of works made by the late William McKeown in Lismore during the early 2000s
Inverleith House, Royal Botanic Gardens Edinburgh
12 May 2012 - 08 July 2012
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.
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.
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.
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.
Interesting Inverleith and beautiful botanics
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.
William McKeown: A Room
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 ClancyVisit Website
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."
Felix Gonzalez-Torres & William McKeown @ MIMA
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.