21st Century Ireland in 21 Artworks
Dorothy Cross & Willie Doherty
Glebe House and Gallery, Donegal, Ireland
14 July - 14 September 2019
Dorothy Cross & Willie Doherty
Glebe House and Gallery, Donegal, Ireland
14 July - 14 September 2019
Gerard Byrne, Dorothy Cross, Willie Doherty, Kathy Prendergast, Sean Scully & Samuel Lawrence Cunnane
13 April - 7 July 2019
National Gallery of Ireland
Spanning 250 years, Ireland: Landscapes in Irish Art comprises artworks by fifty artists, exploring the relationship between people and the natural world.
Void, Derry, Northern Ireland
9 February - 30 March 2019
Willie Doherty's series of photographs of the border document empty roads reaching into the landscapes laden with overtones of what came before. The poignant photograph The Road Ahead (1997) carries new meaning with the uncertainty of what is to come.
14 July – 30 September 2018
Gerard Byrne and Willie Doherty will both be included in the inaugural FRONT International Cleveland Triennial for Contemporary Art, titled An American City.
Regional Cultural Centre, Letterkenny, Ireland
10 July – 22 September 2018
Willie Doherty REMAINS will present photographic and video work.
Glucksman, Cork, Ireland
1 December 2017 – 11 March 2018
Group exhibition curated by Chris Clarke and Fiona Kearney, in association with Professor Nuala Finnegan, Head of the Department of Spanish, Portuguese and Latin American Studios, UCC. Artists: Katharina Cibulka, Willie Doherty, Dragana Jurisic, Bouchra Khalili, Brian Maguire, Teresa Margolles, Dara McGrath, Larissa Sansour, Hrair Sarkissian, Javier Téllez, Jun Yang.
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.
Dallas Museum of Art, Dallas
22 October 2017 – 28 January 2018
Exhibition with Ant Farm, Dara Birnbaum, Mark Bradford, James Coleman, Phil Collins, Bruce Conner, Willie Doherty, Omer Fast, Morgan Fisher, Coco Fusco, Tatiana Gaviola, John Gerrard, Arthur Jafa, Zoe Leonard & Catherine Gund, Steve McQueen, Shirin Neshat, Pratibha Parmar, Ben Rivers, Rachel Rose, Anri Sala, Chick Strand, Jean-Marie Straub & Danièle Huillet, Anne Tallentire, and Rosemarie Trockel.
Mattress Factory, Pittsburgh, PA, USA
7 April – 7 August 2017
Artists: Ursula Burke, Willie Doherty, Rita Duffy, John Kindness, Locky Morris, Philip Napier, and Paul Seawright. Curated by John Carson.
Pallas Projects/Studios, Dublin
Selected by Brian Duggan, Sarah Glennie, Jenny Haughton & Declan Long. Artists include Aquinas, Callan Workhouse, Nina Canell & Robin Watkins, Dorothy Cross, Willie Doherty, Douglas Hyde Gallery, Fergus Feehily, FOUR, Anthony Haughey, Des Kenny, Patrick Jolley & Reynold Reynolds, Aileen Lambert, Clare Langan, The Metropolitan Complex, Michael McLoughlin, Isabel Nolan, Seamus Nolan, Emer O'Boyle, Margaret O' Brien, Deirdre O'Mahony.
Regional Cultural Centre, Letterkenny
10 July – 24 September 2016
Loose Ends is a new commission by Willie Doherty exploring how people, events and places associated with the 1916 Easter Rising are remembered and imagined today.
Irish Museum of Modern Art, Dublin
28 April 2016 - 8 January 2017
Works by Willie Doherty, Elizabeth Magill and Brian Maguire are among those included in IMMA Collection: A Decade, an exhibition of some of the highlights from IMMA's collection over the past ten years.
14 February – 24 April 2016
Villa Merkel, Esslingen am Neckar, Germany
New and recent video and photographic works by Willie Doherty will be included in this exhibition at Villa Merkel (near Stuttgart).
Fundação Calouste Gulbenkian, CAM, Lisbon, Portugal
20 November 2015 – 22 February 2016
Willie Doherty is the suject of a new solo exhibition in Lisbon's Centro de Arte Moderna (CAM) at the Fundação Calouste Gulbenkian. Curated by Isabel Carlos.
The Margulies Collection at the WAREhOUSE
28 October 2015 – 30 April 2016
Willie Doherty's Extracts From a File will be on display as part of The Margulies Collection at the Warehouse's permanent collection.
Kröller-Müller Museum, The Netherlands
19 September 2015 – 3 January 2016
Work by Willie Doherty is to be included in Longing for happier times: Media works from the collection of the Kröller-Müller Museum.
De Pont Museum, The Netherlands
20 September 2014 - 18 January 2015
The exhibition will provide a critical overview of Willie Doherty’s photographs and videos made on the streets of his native city of Derry in Northern Ireland and its surrounding hinterland, presenting new insight into the artist’s working methods and rationale.
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.
Salzburger Kunstverein, Salzburg
26 July–21 September 2014
Punctum is an exhibition exploring the nature of photography today. Consisting of 50 works chosen by artists, curators and writers, and including a series of lectures and a publication, Punctum takes its cue from the term “punctum” coined by Roland Barthes in his final book, Camera Lucida: Reflections on Photography. Punctum is curated by Séamus Kealy and artist Duncan Campbell selected Willie Doherty.
Willie Doherty and the Huis Marseille Collection
14 December 2013 - 9 March2014
Huis Marseille Museum voor Fotografie, Amsterdam
Huis Marseille Museum voor Fotografie has recently acquired for its collection two large works by artist Willie Doherty – Seepage and To the Border, A Fork in the Road....
The exhibition showcasing works by Willie Doherty and other artists whose work has also recently been acquired by Huis Marseille will open on 14 December.
27 September 2013 - 4 January 2014
City Factory Gallery, Derry
UNSEEN is a major exhibition of photographic and video works by Willie Doherty which opens 27 September at the City Factory Gallery, Derry and will form part of the city's 2013 Derry-Londonderry City of Culture celebrations.
The Annex, IMMA @ NCH Earlsfort Terrace, Dublin 2
21 May - 1 September 2013
A haunting film work by leading Derry-born artist Willie Doherty opens to the public in the Annex at the Irish Museum of Modern Art’s temporary off-site exhibition spaces in Earlsfort Terrace on Tuesday 21 May 2013.
Secretion, 2012, first shown to critical acclaim at dOCUMENTA 13, draws on the possibilities of lost and forgotten narratives located somewhere between recent history and a near future.
Fotomuseum Winterthur, Switzerland
2 March - 20 May 2013
Fotomuseum Winterthur presents Concrete - Photography and Architecture, a photographic group show which explores the relationship between architecture and photography. This exhibition, curated by Thomas Seelig, features work by Willie Doherty amonst others, and runs until 20 May.
Tate Britain, London
12 February 2013 - 02 June 2013
Willie Doherty is amonst the artists presenting work in this exhibition which looks at continuities in the way artists have framed our vision of the landscape over the last 300 years.
09 June 2012 - 16 September 2012
Kerlin Gallery is pleased to announce Willie Doherty's participation in dOCUMENTA (13) with the premiere of his new video installation 'Secretion' .
Willie Doherty, Alexander and Bonin
Although human presence in No Return is strictly limited, community is a vital issue for Doherty. Walking the deserted streets, the narrator senses their former inhabitants and feels like an intruder, "my presence an affront to the lives pf those who had lived and died here". He drifts from analysing the town's pollutant-induced collapse – which he realises is irreversible – to exploring the community's past life.—David Frankel
Willie Doherty’s Loose Ends: revolution remembered
14 July 2017
The images of Loose Ends could hardly be more remote from any familiar iconography of the Easter Rising, matched by the meditative commentary voiced by Séan McGinley. Gola’s miniature landscape is archetypal rural Ireland, framed by a rough stone window opening. And its rocky Atlantic coast might seem merely picturesque, although the yacht Asgard faced heavy storms on its mission. Moore Street today is a derelict city terrace, boarded up and host to a variety of weeds and decay. Anti-heroic, or a wry view of the futility of memorialisation? The text muses on time, decay and the inevitable fictionalisation of the past.—Ian ChristieVisit Website
Willie Doherty, Unseen
"Since the mid-1980s Doherty has been predominantly walking through, interrogating and excavating one site: Derry in Nothern Ireland, the place of his birth. It is a complex city divided in two ways. By religious allegiances, sharply defined through politics, separatist ideologies and a long history of violence; and by the River Foyle, a wide, powerful waterway that effectively divides the city into two urban islands. Unseen, a serious and quietly moving retrospective, spans 27 years of Doherty’s career. It presents an unparalleled portrait of his hometown, reaching the metaphysical territories of identity, memory and being that lie beneath its concrete surfaces …"
Art Review, January & February 2014
Willie Doherty, Unseen
"As the title of Willie Doherty’s mini-retrospective at City Factory Gallery makes clear, much of the sectarian logic of this city is ‘UNSEEN’. This is Doherty’s hometown, and has been one of the principal subjects of his work for the past 30 years. While most photojournalists have presented the city as the setting for violent confrontations (youths throwing petrol bombs, lines of riot police bearing down on them), Doherty depicts places not people, sites rather than sights. The earlier works on show are black and white photographs with definitive statements printed in bold capitals across their surfaces. Here, the landscape itself is a locus for ethno-religious division. In the diptych Stone Upon Stone (1986), for example, the Republican slogan ‘TIOCFAIDH ÁR LÁ’ (Gaelic for ‘Our day will come’) appears on one image and the Unionist slogan ‘THIS WE WILL MAINTAIN’ on the other. If there is a passing resemblance to British Land art, to certain pieces by Hamish Fulton and Richard Long, Doherty’s work is motivated by different concerns: his images are a counterpoint to media spectacle rather than a record of wanderlust."
frieze, Issue 161, March 2014
Willie Doherty, Galerie Peter Kichmann
"Willie Doherty’s Without Trace (2013) is one of the few films the artist has created outside of his native Northern Ireland. The thirteen-minute video work (alongside an accompanying series of photographs) observes a shallow waterway limning the terrain, the underside of Zurich’s arterial roads and new housing and building sites. Everything is covered in a fine, dampening blanket of snow. A female voice tells the tale of a migrant construction worker who, prior to his disappearance, had been possessed by growing disquiet regarding the city. This man believed the ground beneath him harboured secrets that surfaced only rarely as a result of excavation, upheaval or thaw."
ArtReview, 16 April 2013
Close-Up: Swamp Thing
"The world of Willie Doherty’s Secretion, 2012, is entropic and still, a place where little moves. Set up visually as a sequence of views of woods, waters, and a deserted house, the video might perhaps have come off as pastoral if shot in breezy sunshine but speaks instead of stagnation and decay. Shooting on windless days of gray light, Doherty finds fungi, lichens, and damp leaf litter in the dank forest, and growths, molds, and creeping mildews in the crumbling house. The only thing in motion is running water, but running water spreading spores of algae, or screened by a milky film. Combining these images with a spoken text telling a story of morbidity and corruption, Doherty makes a fallen tree look as sinister as a razor in a slasher film."
Artforum, September 2013, pp. 348–349
"Few artists are as adept at instilling dread and disquiet as Willie Doherty. His 2012 film Secretion, originally made for Documenta 13, is currently being screened at the Irish Museum of Modern Art’s premises at Earlsfort Terrace. It dominates the building’s Annex gallery, and this allowance of space invites one to appreciate the subtle, ambient soundtrack and vivid, close-up depictions of mould and fungus. An elusive, ambiguous commentary unfolds against Doherty’s imagery, tracing the effects of a mysterious outbreak that infects first woodlands, then nearby houses and eventually the character of ‘X’, the occupant of one such domicile and the guard of a detainee facility for those affected. With the relentless spread of the virus into waterways and reservoirs, he escapes to a life of solitude and ‘the festering interior of his house’. Doherty refrains from showing any of this, dwelling instead on lingering shots of rotting foliage, dead trees, mildew and must, damp and decay, as the commentary doubles back to question the verifiability of its own account: ‘’As his condition worsened he was frequently visited by hallucinations. Deep pools of dark water opened up around him … It was as if he had never completed his escape.’ The absence of an identifiable protagonist and the suffocating atmosphere of the footage seems to permeate the viewer; one imagines the insidious creep of the disease, gradually filling and contaminating the surrounding air of the vast screening area. While, to some extent, Doherty remains inevitably associated with the similarly unsettling films he made about Northern Ireland, Secretion represents a compelling shift in his practice, away from the historical specificity of the Troubles yet, in its own way, just as troubling."
Art Monthly, September 2013, p. 33
Willie Doherty, Unseen
"Unseen, the title of Willie Doherty’s first retrospective in his hometown of Derry, refers to a complex set of impossibilities at the core of his photographic and video practice. The exhibition is accompanied by a substantial, three-hundred-page catalog in which Robin Klassnik, the director of Matt’s Gallery in London and co-curator of the exhibition, asserts that Unseen refers to Doherty’s need to make work in such a way as to remain out of sight, unremarkable to the all-seeing eyes of the British military that has so famously surveilled Northern Ireland and Derry. Unseen also points to a central feature of the artist’s work: his early photographs and later videos offer us carefully crafted tensions and contradictions that hide as much as they reveal about the gloomy countrysides and bleak cityscapes they depict. After having been exhibited across the world, these images of and from Derry are brought back to their place of origin on an unprecedented scale. As a result, the derelict city streets and haunted country lanes that are implacable for a non-native of the city are now presented to audiences with first-hand knowledge of these spaces and their untold stories."
Aileen Burns and John Lundh
Art Agenda, 18 November 2013
Artist of the week: Willie Doherty
"Born in Derry in 1959, Doherty has devoted the past 30 years to making art about the Troubles. His practice has evolved from early black-and-white photographs of his home town, in which he sought to recontextualise the city away from the cliched and gritty photojournalistic images in the press, to film installations. Some focused directly on the political impasse, while others were more metaphorical, often using film noir to convey the city's chilling beauty. The Only Good One Is a Dead One, shot at night through the lamp-lit streets of Derry, captured the cool, calculating horror of organised crime as a man switches between the voice of a stalker and a victim."
The Guardian, 22 April 2009
Willie Doherty, Matt's Gallery
"Language is an important element in all the videos shown in this mini-retrospective. The voice-overs are redolent of late Samuel Beckett – an even, toneless (nearly always Northern Irish-accented) delivery that conceals its own textual texture."
frieze, Issue 114, April 2008, p. 171
"At the risk of being accused of blatant chauvinism, the adjacent presentations of Ireland and Northern Ireland, by Gerard Byrne and Willie Doherty, were a joint success among the outlying ‘national pavilions’. Doherty’s film Ghost Story (2007) retained the baggage of a life lived in violent times even as it journeyed into a spectral other-world, while Byrne’s fractured restaging of scenes from a mid-1960s’ sci-fi think-tank, 1984 and Beyond (2006), presented the tomorrow’s world of yesteryear from the ironically distancing perspective of today."
Caoimhín Mac Giolla Léith
frieze, Issue 109, September 2007
Willie Doherty, Matt's Gallery
"It worked. For days after seeing Willie Doherty’s new video installation, I walked the streets of London gripped by involuntary suspicion - wondering about cars idling quietly at the ends of poorly lit alleyways, doing double takes at vaguely conspiritorial street corner meetings, trying to pick out surveillance cameras hanging above urban junctions."
frieze, January 1994