Born 1928 in Ireland
Lives and works in New York
Born Brian O’Doherty, Ballaghadereen, Co. Roscommon, Ireland.
Studies medicine at University College Dublin, graduating M.B. B.Ch. B.A.O in 1952.
Works as doctor in Dublin.
Exhibits paintings at the Royal Hibernian Academy, the Oireachtas and the Irish
Exhibition of Living Art, 1950-57; publishes art criticism in Irish Monthly,
Dublin Magazine, Studies and Dublin Review; publishes poetry in University Review, Irish Writing and Poetry.
Last portrait of Jack B. Yeats, 1957. Donated to the Yeats Museum, National
Gallery of Ireland in 2000.
Nuffield Fellows hip to Experimental Psychology Laboratories, Cambridge
Smith-Mundt Fellowship, School of Public Health, Harvard University, 1957.
Graduates Master of Science (Public Health), Harvard in 1958.
Succeeds Barbara Novak in pioneering television series at the Museum of Fine Arts, Boston, writing and hosting Invitation to Art on WGBH-TV. Interviews Edward Hopper, Marc Chagall, Walter Gropius and Josef Albers, among others.
Marries Barbara Novak, 1960.
Lowell Lectures, Museum of Fine Arts, Boston, 1961.
Art critic, New York Times, 1961-64.
Writes and hosts Dialogue on WNBC-TV (Emmy nomination).
Mather Award for Criticism from College Art Association, 1964.
Leaves New York Times. Begins to make art again.
Meets Eva Hesse, Dan Graham, Sol LeWitt, Peter Hutchinson, Dorothea Rockburne, Mel Bochner, Robert Smithson, Ruth Vollmer and Lucy Lippard.
Exhibits at group exhibition The Box Show, Byron Gallery, New York.
First solo exhibition, Byron Gallery, New York.
Swaps work with Duchamp.
Begins Artist’s Book series.
Begins series of Labyrinths, Ogham works and Structural Plays.
Publishes Object and Idea: An Art Critic’s Journal, 1961-67, Sirnon & Schuster, New York.
Teaches at University of California, Berkeley, with Mark Rothko, Ron Kitaj, Barbara Novak.
Part-time Director of Visual Arts Program, National Endowment for the Arts (NEA), Washington D.C., 1969.
Lecture, ‘The Politics and Esthetics of Heart Transplants’, New York
Academy of Medicine, 1969; University College Dublin Medical Society, 1970.
Adjunct Professor, Barnard College, Columbia University, New York, 1970-96.
Curates and writes catalogue, The Irish Imagination, Rose Exhibition, The Hugh Lane Municipal Gallery of Modern Art, Dublin, 1971.
Editor, Art in America, 1971-74.
Art and architecture critic, Today, NBC, 1971-78.
Irish Exhibition of Living Art, Dublin; changes name to Patrick Ireland.
Editor, Museums in Crisis, George Braziller Inc., New York.
First Rope Drawing, Phonic Grid, 112 Greene Street, New York.
Publishes American Masters: The Voice and the Myth, Random House, 1974.
Studies Borromini’s architecture, Rome.
Essays, Inside the White Cube: The Ideology of the Gallery Space, Artforum.
Resigns from NEA Visual Arts Program. Appointed part-time Director, Media Arts
Program: Film/Radio/Television, NEA.
External examiner, sculpture, National College of Art & Design, Dublin (1976-1980).
First Irish artist, with James Coleman, to be admitted to the Rosc exhibition, Dublin.
Begins wall paintings, Todi, Italy.
Created Red Room, Rope Drawing #56, Spencer Museum, University of Kansas, Lawrence for the memorial service for Jean-Paul Sartre.
Franklin Murphy Lectures, Spencer Museum, University of Kansas, Lawrence, Kansas.
Invited curator, Exhibition of Visual Art (EVA), Limerick, Ireland.
Creates A Courtyard for Tatlin and Fred Astaire (also called Catenary, Rope
Drawing #62) and performs Vowel Grid (1970), Fogg Art Museum, Cambr1dge, Massachusetts; subsequent performances prohibited.
Hopper’s Silence, Grand Prix, Montreal International Festival of Films on Art, 1982.
External examiner, sculpture, National College of Art & Design, Dublin, 1983-89.
Retrospective, Patrick Ireland: Drawings 1965-1985 (catalogue inc. essays by Lucy Lippard and Elizabeth Braun), Smithsonian National Museum of American Art, Washington D.C. and Clocktower Gallery, New York, 1986.
Catalogue, Patrick Ireland, Rope Drawings 1980-90 (inc. essay by Kenneth Baker),Art Random, Japan, 1991.
Retrospective, Patrick Ireland: Labyrinths, Language, Pyramids, and Related Acts, Elvehjem Museum of Art, Wisconsin, and Institute of Contemporary Art, P.S.1, New York, 1992.
First novel, The Strange Case of Mademoiselle P, Chatto & Windus, London, 1992.
Sagittarius Prize (British Society of Authors), 1993.
Begins Easel Painting series, c.1992.
External examiner, sculpture, National College of Art & Design, Dublin, Ireland, 1994-48.
Retrospective, Patrick Ireland: Gestures Instead of an Autobiography,
Butler Institute of American Art, Ohio, 1994.
Board member, Irish Museum of Modern Art (IMMA), 1995-2000.
Flann O’Brien at 11, Rue Larrey, Rope Drawing #104 and ‘Language, Power, and Mapping‘, part of L’Imaginaire Irlandais exhibition, Galerie Nikki Diana Marquardt, Paris, 1996.
Artist-in-residence, Sirius Art Centre, Cobh, Co. Cork. Installs One, Here, Now: The Ogham Cycle, 1996.
Retires as part-time Director, Media Arts Program, NEA, Washington D.C., 1996.
Appointed University Professor of Fine Art and Media, Southampton College, Long Island University, 1996.
Retrospective, Patrick Ireland: Language Performed/Matters of Identity, Orchard Gallery, Derry.
Contributed ‘Casa Dipinta’, Towards a New Museum, Victoria Newhouse, Monacelli Press, New York.
Second novel, The Deposition of Fr. McGreevy, Turtle Point Press, Books & Co, Helen Marx Books, New York.
Expanded edition of Inside the White Cube: The Ideology of the Gallery Space, University of California Press.
The Deposition of Fr. McGreevy, shortlisted, Booker Prize, London, 2000.
Lectures, ‘The Last Portrait of Marcel Duchamp’, Iconoclash Conference, Centre for Art and Media, Karlsruhe, Germany, and ‘The Five Senses of the Bishop of Cloyne’, Kunsthistorisches Institut der Universität Bann, 2002.
Honorary Fellowship, Royal College of Physicians of Ireland, Dublin, 2003.
Lecture, ‘Studio and Cube’, Tate Modern, London, 2003.
Honorary Associate, National College of Art & Design, University College Dublin, 2004.
Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland, Dublin City Gallery, The Hugh Lane.
‘Patrick Ireland Symposium’, Irish Art Research (entre (TRIARC), University of Dublin, Trinity College and Dublin City Gallery, The Hugh Lane.
Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland, Grey Art Gallery, New York.
Symposium, ‘The Art and Writing of Patrick Ireland/Brian O’Doherty’, Institute for American Irish Studies, Pace University, New York.
Studio and Cube: On the relationship between where art is made and where art is displayed, Forum Project and Columbia University, New York.
The Burial of Patrick Ireland, Irish Museum of Modern Art, Dublin.
French translation, Patricia Falguières, Inside the White Cube: The Ideology of the Gallery Space, JRP Ringier, Zurich.
Lectures, Maison Rouge, Paris.
Reviews film , Hunger, Artforum, vol. XLVII, no. 5.
Portrait of Marcel Duchamp (1966-67) exhibited, Inventing Marcel Duchamp: The Dynamics of Portraiture, National Portrait Gallery, Smithsonian Institution, Washington D.C.
‘Boxes, Cubes, Installations, Whiteness and Money’, catalogue essay, A Manual for a 21th Century Institution, Whitechapel Gallery, London.
Lecture, ‘The Five Senses of the Bishop of Cloyne (1967-68)’, Yale University.
Extracts from Inside the White Cube in exhibition catalogue, Voids: A retrospective of empty exhibitions, Centre Pompidou Paris & Kunshalle, Bern.
Limited edition of prints, Stoney Road Press, Dublin.
Triple Canopy Benefit, Honoring Brian O’Doherty, New York
Solo Exhibitions (selection)
Byron Gallery, New York.
Betty Parsons Gallery, New York.
112 Greene Street, New York.
Corcoran Gallery of Art, Washington D.C.
David Hendriks Gallery, Dublin.
Los Angeles County Museum of Art.
La Jolla Museum of Contemporary Art, California, Seattle Art Museum and
Contemporary Arts Center, Cincinnati.
School of Visual Arts Museum, New York, and Contemporary Arts Center, Cincinnati.
Galerie December, Düsseldorf.
Hansen-Fuller Gallery, San Francisco.
University Art Museum, Berkeley.
Spencer Museum, University of Kansas, Lawrence.
Akron Art Institute, Akron.
Fogg Art Museum, Harvard University, Cambridge, Massachusetts.
Brooklyn Museum, New York.
Butler Institute of American Art, Youngtown.
Charles Cowles Gallery, New York.
Douglas Hyde Gallery, Trinity College, Dublin.
National Museum of American Art, Washington D.C., and the Clocktower, New York.
Kent State University, Kent.
Fuller Grass Gallery, San Francisco.
Octagon Gallery, Orpheus Gallery, Belfast.
Galerie Hoffman, Friedberg.
Elvehjem Museum of Art, University of Wisconsin.
Institute of Contemporary Art, P.S.1, New York.
150 Greene Street, New York.
Butler Institute of American Art, Youngtown.
Crawford Municipal Art Gallery, Cork.
Sirius Art Centre, Cobh, Cork.
Orchard Gallery, Derry.
Charles Cowles Gallery, New York.
Eaton Fine Arts, West Palm Beach.
Avram Gallery, Southampton College, University of Lang Island, New York.
Dublin City Gallery, The Hugh Lane, Dublin.
The Grey Art Gallery, New York.
Irish Museum of Modern Art, Dublin.
Limited edition I-Drawing Prints, Stoney Road Press, Dublin.
From Electrocardiogram to Rope Drawing, Galerie Thomas Fischer, Berlin.
Art as an Argument, Kunstmuseum Bayreuth.
Connecting the…, Simone Subal Gallery/P! Gallery, New York
Speaking in Lines, Simone Subal Gallery, New York
Art Basel Miami Beach Survey section with Simone Subal Gallery, Miami
One Here Now: the Brian O’Doherty / Patrick Ireland Project, Sirius Arts Centre in Cobh, Cork, Ireland.
Group exhibitions (selection)
100 Man Show, PVI Gallery, New York.
The Box Show, Byron Gallery, New York.
The Obsessive Image, Institute of Contemporary Art, London.
Schemata 7, Finch College Museum, New York.
Variations on Contemporary Sculpture, Museum of Art, University of Iowa, Iowa.
Projected Art: Artists at Work, Finch College Museum, New York.
Irish Exhibition of Living Art, Project Centre, Dublin.
Gordon Lambert Collection, Hugh Lane Municipal Gallery of Modern Art, Dublin.
Betty Parsons’ Collection, Parrish Art Museum, Southampton, New York.
Drawings U.S.A., Minnesota Museum of Art, Minnesota.
American Drawings 1963-73, Whitney Museum of American Art, New York.
Projects: Discussions/Words, Clocktower, New York.
Constructed Drawings, Betty Parsons Gallery, New York.
Language as Structure, Kensington Art Center, Toronto.
Labyrinths, Wheaton College, P.C.A., Corcoran Gallery of Art, Philadelphia.
Herbert and Dorothy Vogel Collection, Institute of Contemporary Art, Philadelphia,
and Contemporary Arts Center, Cincinnati.
Line, School of Visual Arts, New York and Philadelphia College of Art, Philadelphia.
The Golden Door: Artist-Immigrants 1876-1976, Hirshhorn Museum, Washington D.C.
Rooms, P.S.1, New York
Modern Portraits: The Self and Others, Wildenstein Gallery, New York.
Open to New Ideas, University of Georgia Museum, Athens, Georgia.
Projects of the Seventies, Institute for Art and Urban Resources, P.S.I, New York.
Documenta 6, Kassel.
Rosc, Hugh Lane Municipal Gallery of Modern Art, Dublin.
Numerals 1924-77, Leo Castelli Gallery, New York, Dartmouth College, New
Hampshire, and Yale University Gallery, Connecticut.
The Line, Parsons-Dreyfuss Gallery, New York.
Grids, Pace Gallery, New York, Akron Art Institute, Akron, and Max Protetch
Gallery, New York.
The Pluralist Decade, American Pavilion, 39th Biennale, Venice.
Drawings, Leo Castelli Gallery, New York.
Wallworks, Cranbrook Academy of Art Museum, Michigan.
American Constructivism, Neuberger Museum, Purehase College, New York.
Constructivism in Process, temporary alternative space, Lodz.
The Brooklyn Bridge, Brooklyn Museum of Art, New York.
Poetry and the Visual Arts, University of Virginia, Charlottesville, Virginia.
Concepts in Construction 1910-1980, Independent Curators Inc., New York.
The Minimal Line, Bard College, Annandale-on-Hudson, New York.
American Drawings, Minneapolis Museum of Art, Minnesota.
Reconnecting: Recent Work by Jennifer Bartlett, Met Bochner, Nancy Graves,
Patrick Ireland, Lucio Pozzi, Detroit Institute of Arts, Detroit.
Aspects of Conceptualism, Avenue B Gallery, New York.
Three Artists: Ireland, di Marinis, Pfaff, Fuller-Gross Gallery, San Francisco.
LeVa, Rockburne, Ireland, 150 Greene Street, New York.
Snipers Nest: Art that has lived with Lucy Lippard, Bard College, New York.
Language, Cartographie et Pouvoir (Language, Mapping and Power), L’Imaginaire
Irlandais, Galerie Nikki Diana Marquardt, Paris.
Primarily Structural, P.S.1, Contemporary Art Centre, Lang Island City.
Shifting Ground: Selected Works of Irish Art 1950-2000, Irish Museum of
Modern Art, Dublin.
Fred Barzyk: The Search for a Personal Vision in Broadcast Television,
video exhibition, Haggerty Museum of Art, Marquette University, Wisconsin.
Joyce in Art: Visual Art Inspired by James Joyce, Royal Hibernian Academy, Dublin.
In the Time of Shaking, Irish Artists for Amnesty International, Irish
Museum of Modern Art, Dublin.
The West as Metaphor, Royal Hibernian Academy, Dublin.
Calder, Venet, Ireland, Oppenheim, Eaton Fine Arts, West Palm Beach.
The Secret Theory of Drawing, Drawing Room Gallery, London and Edinburgh, and Model Arts and Niland Gallery, Sligo.
Cartography: Map-Making as Artforms, Crawford Municipal Art Gallery, Cork.
Centenary Hugh Lane Box Set of Prints, Dublin City Gallery, The Hugh Lane.
Exhibits An Experiment with Chess (1969), in Form as Strategy, Buell Centre,
Columbia University, New York.
Concpetual Tendencies 1960s to Today II, Daimler Collection, Berlin.
Passing Leap, Hauser and Wirth, NewYork
FORTY, MoMA PS1, New York
Dis-Play/Re-Play, Austrian Cultural Forum, New York
Delirious: Art at the Limits of Reason, 1950-1980, The Metropolitan Museum of Art, New York
Public collections (selection)
Metropolitan Museum of Art, New York
Museum of Modern Art, New York
Centre George Pompidou, Paris
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Irish Museum of Modern Art, Dublin
Dublin City Gallery, The Hugh Lane, Dublin
National Gallery of Ireland, Dublin
National Museum of American Art, Washington D.C.
National Gallery of Art, Washington D.C.
Kalamazoo Art Institute, Kalamazoo
Detroit Institute of Art, Detroit
Seattle Art Museum, Seattle
The Butler Institute of American Art, Youngstown
The Butler Gallery, Kilkenny, Ireland
Crawford Municipal Gallery of Art, Cork
University of Dublin, Trinity College, Dublin
University College Dublin, Dublin
University College Cork, Cork
University of Iowa Museum of Art, Iowa
Spencer Museum of Art, Princeton
Hayes, Christa-Maria Lerm. Brian O’Doherty/Patrick Ireland: Word, Image and Institutional Critique. Valiz, 2017.
Moore McCann, Brenda. Brian O’Doherty/Patrick Ireland: Between Categories. Lund Humphries, 2009. (Monograph)
Rope drawings by Patrick Ireland: An Exhibition. La Jolla Museum of Contemporary Art, 1977.
O’Doherty, Brian. Dear…Selected Letters from Brian O’Doherty 1970s to 2018. Ed. Brenda Moore McCann. Vermillion Design, 2019.
O’Doherty, Brian. The Crossdresser’s Secret. Sternberg Press, 2014.
O’Doherty, Brian. Studio and Cube: On the relationship between where art is made and where art is displayed. New York: The Temple Hoyne Buell Center for the Study of American Architecture, Columbia University: Princeton Architectural Press, 2013.
O’Doherty, Brian and Ryan, Raymund. White Cube, Green Maze: New Art Landscapes. Heinz Architectural Center, Carnegie Museum of Art, 2012.
O’Doherty, Brian. Beyond the White Cube: A Retrospective of Brian O’Doherty/Patrick Ireland. City Gallery the Hugh Lane, 2006.
O’Doherty, Brian. The Deposition of Father McGreevy. Arcadia, 2001.
O’Doherty, Brian. Inside the White Cube: the Ideology of the Gallery Space. Lapis Press, 1986.
O’Doherty, Brian. American Masters: the Voice and the Myth. Random House, 1973.
O’Doherty, Brian. Object and Idea: An Art Critic’s Journal, 1961-1967. Simon and Schuster, 1967.