Brian O'Doherty/Patrick Ireland: Word, Image and Institutional Critique
Edited by Christa-Maria Lerm Hayes. Text by Alexander Alberro, Hans Belting, Anne-Marie Bonnet, Lucy Cotter, Patricia Falguières, Christina Kennedy, Ingmar Lähnemann, Christa-Maria Lerm Hayes, Thomas McEvilley, Brenda Moore McCann, Whitney Rugg, Yvonne Scott, Mary-Ruth Walsh.
This volume assembles fresh perspectives on the seminal work of New York–based Brian O’Doherty (born 1928) and his alter ego Patrick Ireland: his visual art practice, art criticism, institutional leadership and critique, media work and literary writing.
The contributing authors (including Alexander Alberro, Hans Belting, Lucy Cotter, Patricia Falguières and Thomas McEvilley, among others) provide new ideas on O’Doherty’s versatile oeuvre. O’Doherty’s role in conceptual art and minimalism in New York is as much a theme of this volume as his seminal critique of the modernist “white cube” gallery space, his art-historical ventures and Irish origins.
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FORMAT: Pbk, 6.25 x 9 in. / 304 pgs / 60 b&w. LIST PRICE: U.S. $30.00 LIST PRICE: CANADA $40 ISBN: 9789492095244 PUBLISHER: Valiz/vis-à-vis AVAILABLE: 11/21/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ME
Brian O'Doherty/Patrick Ireland: Word, Image and Institutional Critique
Published by Valiz/vis-à-vis. Edited by Christa-Maria Lerm Hayes. Text by Alexander Alberro, Hans Belting, Anne-Marie Bonnet, Lucy Cotter, Patricia Falguières, Christina Kennedy, Ingmar Lähnemann, Christa-Maria Lerm Hayes, Thomas McEvilley, Brenda Moore McCann, Whitney Rugg, Yvonne Scott, Mary-Ruth Walsh.
This volume assembles fresh perspectives on the seminal work of New York–based Brian O’Doherty (born 1928) and his alter ego Patrick Ireland: his visual art practice, art criticism, institutional leadership and critique, media work and literary writing.
The contributing authors (including Alexander Alberro, Hans Belting, Lucy Cotter, Patricia Falguières and Thomas McEvilley, among others) provide new ideas on O’Doherty’s versatile oeuvre. O’Doherty’s role in conceptual art and minimalism in New York is as much a theme of this volume as his seminal critique of the modernist “white cube” gallery space, his art-historical ventures and Irish origins.
