![]() Some of the results are quite grotesque and, in fact, the great hall at the Tate Modern with the Olafur Eliasson is the first time I've seen that enormously dismal space - like a coffin for a giant - socialized in an effective way. With respect to the issue of industrial rehabilitation and the taking over of abandoned buildings: what's to say? You do the best you can with them. I'm an empiricist, both in my work and in my thinking. Do you have any thoughts on that?īrian O'Doherty I think I should make something clear: I've got no answers. Mark Godfrey Since you wrote Inside the White Cube there has been an increase in the number of galleries that are sited in old industrial spaces. This inaugurated a series of lectures dedicated to the memory of the late Stuart Morgan. In November 2003 O'Doherty delivered a paper at the Tate Modern entitled 'Studio and Cube', an unpublished supplement to Inside the White Cube. Ireland will inaugurate the new extension to the Hugh Lane Municipal Gallery of Modern Art in Dublin with a full retrospective in 2005. O'Doherty's own art work has been produced under the name Patrick Ireland since his mid-career name change in 1972, a response to the 'Bloody Sunday' massacre in Derry. O'Doherty still occasionally produces art criticism but also writes fiction: his second novel, The Deposition of Father McGreevy (1999), was short-listed for the Booker Prize in 2000. He is himself an award-winning documentary filmmaker: Hopper's Silence (1980) will accompany the new Edward Hopper exhibition at the Tate Modern. He served for 19 years as director of the film, radio and television section of the National Endowment for the Arts, where he funded artists and exhibition spaces working with new media. He edited a special edition of Aspen: the magazine in a box (1967) for which he commissioned Roland Barthes to write 'The Death of the Author'. ![]() After working as art critic for The New York Times in the 1960s, he produced and hosted two art series for television. Brian O'Doherty is probably best known as author of Inside the White Cube (1976), a series of essays first published in Artforum that investigated the history and meaning of the Modernist exhibition space and the ways in which artists had questioned it.
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