Willie Doherty

born 1959, Derry, Northern Ireland
Lives and works in Derry

EDUCATION
1978-81
BA Hons Degree in Sculpture, Ulster Polytechnic, York Street
1977-78 Foundation Course, Ulster Polytechnic, Jordanstown


SOLO EXHIBITIONS

2018
Remains, Regional Cultural Centre, Letterkenny, Ireland
Inquieta, Galeria Moises Perez de Albeniz, Madrid, Spain 2017 Galerie Peter Kilchmann, Zurich, Switzerland
Remains, Art Sonje Center, Seoul, South Korea No Return, Alexander and Bonin, New York, USA Loose Ends, Matt's Gallery, London, UK

2016
Passage, Alexander and Bonin, New York
Lydney Park Estate, Gloucestershire, presented by Matt's Gallery + BLACKROCK Loose Ends, Regional Centre, Letterkenny; Kerlin Gallery, Dublin, Ireland Home, Villa Merkel, Germany

2015
Again and Again, Fundaçao Calouste Gulbenkian, CAM, Lisbon
Panopticon, Utah Museum of Contemporary Art (UMOCA), Salt Lake City

2014
The Amnesiac and other recent video and photographic works, Alexander and Bonin, New York, USA
UNSEEN, Museum De Pont, Tilburg
The Amnesiac, Galería Moisés Pérez de Albéniz, Madrid
REMAINS, Kerlin Gallery, Dublin

2013
UNSEEN, City Factory Gallery, Derry
Secretion, Neue Galerie, Museumslandschaft Hessen Kassel
Secretion, The Annex, IMMA, Dublin
Without Trace, Galerie Peter Kilchmann, Zurich

2012
Secretion, Statens Museum for Kunst, National Gallery of Denmark, Copenhagen
LAPSE, Kerlin Gallery, Dublin
Photo/text/85/92, Matts Gallery, London
One Place Twice, Photo/Text/85/92, Alexander and Bonin, New York 2011 Willie Doherty: Traces, Speed Art Museum, Louisville, Kentucky
Disturbance; in conjunction with Dublin Contemporary 2011, Dublin City Gallery, The
Hugh Lane; Willie Doherty, Towner Art Gallery, Eastbourne, UK Wolverhampton Art Gallery, UK
The Visitor, Dublin City Gallery The Hugh Lane, Dublin 2010 Unfinished, Galeria Moises Perez de Albeniz, Pamplona
LACK, Alexander and Bonin, New York
Visions, Ulster Museum, Belfast

2009
Three Potential Endings, Dark Light X, Dublin Buried, Prefix Institute of Contemporary Art, Toronto Buried, Fruitmarket Gallery, Edinburgh
Buried, Glynn Vivian Art Gallery, Swansea, Wales
Requisite Distance, Dallas Museum of Art
Three Potential Endings, Galerie Peter Kilchmann, Zurich 2008 The Visitor, Douglas Hyde Gallery, Dublin
Venice at Farmleigh, Farmleigh Gallery, Dublin
Ghost Story, Prince Charles Cinema, London
Replays: Selected video works 1994-2007, Matt's Gallery, London 2007 Apparatus & Closure, Void, Derry
Northern Ireland Pavilion, 52nd Venice Biennale Lenbachhaus, München
Kunstverein, Hamburg

2007
Willie Doherty, Alexander and Bonin, New York

2006
EMPTY, Kerlin Gallery, Dublin; Galerie Peter Kilchmann, Zürich
Out of Position, Laboratorio Arte Alameda, Mexico City 2005 APPARATUS, Galerie Nordenhake, Berlin
APPARATUS, Galeria Pepe Cobo, Madrid
NON-SPECIFIC THREAT, Salon of the Museum of Contemporary Art Belgrade

2004
NON-SPECIFIC THREAT, Alexander and Bonin, New York
NON-SPECIFIC THREAT, Galerie Peter Kilchmann, Zurich 2003 Willie Doherty, De Appel, Amsterdam

2002
False Memory, Irish Museum of Modern Art, Dublin Unknown Male Subject, Kerlin Gallery, Dublin Retraces, Matt's Gallery, London

2001
How It Was/Double Take, Ormeau Baths Gallery, Belfast
Extracts from a file, Alexander and Bonin, New York

2000
Extracts from a File, Gesellschaft für Aktuelle Kunst, Bremen Extracts from a file, Galerie Peter Kilchmann, Zurich Extracts from a file, DAAD Galerie, Berlin
Extracts from a file, Kerlin Gallery, Dublin

1999
Dark Stains, Koldo Mitxelena Kulturunea, Donostia-San Sebastian New photographs and video, Alexander and Bonin, New York Same Old Story, Firstsite, Colchester
True Nature, The Renaissance Society, Chicago
Somewhere Else, Museum of Modern Art, Oxford

1998
Somewhere Else, Tate Gallery Liverpool Galleria Emi Fontana, Milan

1997
Same Old Story, Matt's Gallery, London; Orchard Gallery, Derry; Berwick Gymnasium,
Berwick-upon-Tweed, Le Magasin, Grenoble Willie Doherty, Galerie Peter Kilchmann, Zürich Willie Doherty, Kerlin Gallery, Dublin Blackspot, Firstsite, Colchester

1996
The Only Good One is a Dead One, Edmonton Art Gallery Edmonton, Alberta; Mendel Art
Gallery, Saskatoon; Art Gallery of Windsor, Windsor; Art Gallery of Ontario, Toronto, Fundaçáo Calouste Gulbenkian, Lisbon
Willie Doherty, Alexander and Bonin, New York
Willie Doherty, Musée d'Art Moderne de la Ville de Paris
In the Dark: Projected Works by Willie Doherty, Kunsthalle Bern; Kunstverein München

1995
Willie Doherty, Kerlin Gallery, Dublin Galerie Jennifer Flay, Paris
Galerie Peter Kilchmann, Zürich

1994
At the End of the Day, British School at Rome

1993
The Only Good One is a Dead One, Arnolfini, Bristol, Grey Art Gallery, New York
30 January 1972, Douglas Hyde Gallery, Dublin
They're all the Same, Centre for Contemporary Art, Ujazdoski Castle, Warsaw
The Only Good One is a Dead One, Matt's Gallery, London Galerie Jennifer Flay, Paris

1992
Galerie Peter Kilchmann, Zürich Oliver Dowling Gallery, Dublin

1991
Kunst Europa, Six Irishman, Kunstverein Schwetzingen Willie Doherty, Tom Cugliani Gallery, New York
Willie Doherty, Galerie Giovanna Minelli, Paris
Unknown Depths, John Hansard Gallery, Southampton; Angel Row Gallery, Nottingham; ICA, London; Ffotogallery, Cardiff; Third Eye Centre, Glasgow; Orchard Gallery, Derry

1990
Same Difference, Matt's Gallery, London
Imagined Truths, Oliver Dowling Gallery, Dublin 1988 Colourworks, Oliver Dowling Gallery, Dublin
Two Photoworks, Third Eye Center, Glasgow

1987
The Town of Derry, Photoworks, Art & Research Exchange, Belfast
Photoworks, Oliver Dowling Gallery, Dublin

1986
Stone Upon Stone, Redemption!, Derry

1982
Siren, an installation, Art and Research Exchange, Belfast
Collages, Orchard Gallery, Derry

1980
Installation, Orchard Gallery, Derry


SELECTED GROUP EXHIBITIONS

2020
The Otherside, Borderlands In Contemporary Irish Art, Dortmunder U

2019
Crossing Lines, Constructing Home: Displacement and Belonging in Contemporary Art, Harvard Museum, USA
Walking Through Walls, Berliner Festspiele, Gropius BAU, Berlin, Germany
How the light gets in, Johnson Museum of Art, NYC, USA
Shadowplay, Kerlin Gallery, Dublin, Ireland
21st Century Ireland in 21 Artworks, Dorothy Cross & Willie Doherty, Glebe house and Gallery, Donegal, Ireland
Exposures, Alexander ad Bonin, NYC, USA
Shaping Ireland: Landscapes In Irish Art, National Gallery of Ireland, Dublin, Ireland
Political Affairs: Language Is Not Innocent, Kunstverein in Hamburg, Germany

2018
Opened Ground, Void, Derry, Northern Ireland
An American City, FRONT International: Cleveland Triennial For Contemporary Art,
Cleveland, USA
Elevate, Luan Gallery, Athlone
An Act of Hospitality Can Only be Poetic, Highlanes Gallery, Drogheda, Ireland

2017
Willie Doherty / Mona Hatoum / Rita McBride, Alexander and Bonin, New York, USA
Truth: 24 frames per second, Dallas Museum of Art, Dallas, TX, USA
so it is, Mattress Factory, Pittsburg
International Ireland, Ulster Museum, Belfast
10 YEARS OLD, Fondazione Fotografia Modena, Italy Higher Bridges Gallery, Enniskillen

2016 IMMA Collection: A Decade, Irish Museum of Modern Art, Dublin
The Crawford at the Castle, The State Apartment Galleries, Dublin Castle, Dublin
Periodical Review 2016, Pallas Projects/Studios, Dublin, Ireland

2015
The Margulies Collection at the WAREhOUSE, Miami, FL, USA
Trauma, Science Gallery, Dublin, Ireland
Contemporary Photography from Northwest Europe, Fondazione Fotografia Modena, Modena, Italy
Longing for Happier Times, KrMüller Museum, Otterlo, The Netherlands

2014
New Art New Nature, Ulster Museum, Belfast, Northern Ireland
Punctum, Salzburger Kunstverein, Salzburg, Germany

2013
Catalyst: Contemporary Art and War, The Imperial War Museum North, Manchester Golden Years: Oleg Klimov, Olga Chernysheva, Sarkis & Willie Doherty, Huis Marseille Collection, Huis Marseille Museum for Photography, Amsterdam
Northern Ireland: 30 Years of Photography, Belfast Exposed and The Mac, Belfast
Keywords, INIVA Institute of International Visual Arts, London
Concrete: Photography and Architecture, Fotomuseum, Winterthur
Changing States: Contemporary Irish Art and Francis Bacon's Studio, Bozar Centre for Fine Art, Brussels
Looking at the View, Tate Britain, London, curated by Penelope Curtis, Tim Batchelor

2012
dOCUMENTA(13), Kassel, Germany
OC Collection, Orange County Museum of Art, California
Stimuli: Prints & Multiples, Alexander and Bonin, New York

2011
ANGRY: Jong en Radicaal, Nederlands Fotomuseum, Rotterdam, Netherlands

2010
Manifesta 8, Murcia, Spain
Kilkenny Arts Festival, Rothe House, Kilkenny
summer 2010, Kerlin Gallery, Dublin
Willie Doherty, Victor Grippo and Sylvia Plimack Mangold, Alexander and Bonin, New York, USA
Hugh Lane Centenary Print Exhibition, Wexford Arts Centre, Wexford, Ireland

2009
Terror and the Sublime: Art in an Age of Anxiety, Crawford Art Gallery, Cork
Exploring a New Donation, Irish Museum of Modern Art, Dublin
ev+a: Reading the City, Limerick City Gallery of Art, Ireland

2008
Fifty Percent Solitude, Kerlin Gallery, Dublin
Peripheral vision and collective body, Museion, Bozen, Italy
The Morning After, Videoarbeiten der Sammlung Goetz, Weserburg Museum fur Moderne Kunst, Bremen
Venice at Farmleigh, Farmleigh, Dublin
On The Margins, Mildred Lane Kemper Art Museum, St. Louis, USA

2007
Gehen Bleiben, Kunstmuseum Bonn
3rd Auckland Triennial, Auckland, New Zealand

2006
RE: LOCATION, Alexander and Bonin, New York
Reprocessing Reality, P.S.1 Center for Contemporary Art, Long Island City, NY

2005
La actualidad revisada, Banque de Neuflize, Paris
The Experience of Art, Italian Pavilion, 51st Venice Biennial, Venice
The Shadow, VestsjKunstmuseum, Sor, Denmark
Slideshow, Baltimore Museum of Art; Contemporary Arts Center, Cincinnati; Brooklyn Museum of Art, NYC, USA

2004
Faces in the Crowd: The Modern Figure and Avant-Garde Realism, Whitechapel Gallery, London; Castello di Rivoli, Museo d'arte Contemporanea, Turin Dwellan, Charlottenborg Exhibition Hall, Copenhagen
GLOCAL: APUNTES PARA VIDEOREPRESENTACIONES DE LO GLOBAL Y
LO LOCAL, Galeria Moisés Pérez de Albéniz, Pamplona 3rd Berlin Biennial for Contemporary Art

2003
Turner Prize 2003, Tate Britain, London 8th International Istanbul Biennial

2002
Willie Doherty, Paul Etienne Lincoln, Rita McBride, Alexander and Bonin, New York, USA
RE-RUN, XXV Bienal de SPaulo, SPaulo, Brazil 2001 Double Vision, Galerie für ZeitgenKunst, Leipzig
The Inner State, Kunstmuseum Liechtenstein, Vaduz
Trauma, Dundee Contemporary Arts; Hayward Gallery, London; Firstsite, Colchester; Museum of Modern Art, Oxford; Museum of Modern Art, Nottingham
The Uncertain (Eija-Liisa Ahtila, Willie Doherty, Guillermo Kuitca, Taro Sinoda), Galería Pepe Cobo, Seville
Bloody Sunday, three-person exhibition with Willie Doherty, Locky Morris, Philip Napier,
Orchard Gallery, Derry
Gisela Bullacher / Willie Doherty, Produzentengalerie, Hamburg 2000 Blackspot: New Acquisitions, Vancouver Art Gallery
Hitchcock and Art: Fatal Coincidences, Musée des Beaux-Arts de Montréal, Montreal Shifting Ground; Selected Works of Irish Art 1950 - 2000, Irish Museum of Modern Art, Dublin, Ireland

1999
des conflicts intérieurs, Willie Doherty and Donovan Wylie, Saison Photographique d'Octeville,
Sleuth, Chapter Arts Centre and Ffotogallery, Cardiff; Oriel Mostyn Gallery, Llandudno; Barbican Art Gallery, London
Irish Art Now: From the Poetic to the Political, McMullen Museum of Art, Boston College; Art Gallery of Newfoundland and Labrador, Chicago Cultural Center, The Irish Museum of Modern Art, Dublin.
Expansive Vision: Recent Acquisitions of Photographs in the Dallas Museum of Art, Dallas Museum of Art, Dallas, Usa
Enzeit Transart, Charim Klocker, Dorotheergasse, Vienna
Insight-Out, Kunstraum Innsbruck, Innsbruck
War Zones, Presentation House Gallery, Vancouver Carnegie International, Carnegie Museum of Art, Pittsburgh

1998
Emotion: Young British and American Art from the Goetz Collection, Deichtorhalle Hamburg, Germanu
New Art From Britain, Kunstraum Innsbruck
Wounds: between democracy and redemption in contemporary art, The Moderna Museet, Stockholm, Sweden
Art from the UK (Part II), Sammlung Goetz, Munich, Germany
Real/Life: New British Art, Tochigi Prefectural Museum of Fine Arts; Fukuoka City Art Museum; Hiroshima City Museum of Contemporary Art; Tokyo Museum of Contemporary Art, Ashiya City Museum of Art and History

1997
Pictura Britannica, Art from Britain, MoCA, Sydney, Australia; Art Gallery of South
Australia, Adelaide; Te Papa, Wellington
Between Lantern and Laser, Henry Art Gallery, Seattle
Identité, Nouveau Musée / Institut - FRAC RhAlpes, Villeurbanne; Stedelijk VanAbbemuseum, Eindhoven
Islas, Centro Atlantico de Arte Moderno, Las Palmas
No Place (like home), Walker Art Center, Minneapolis
P.S.1 - Opening Project, Long Island City, NY
Re/View: Photographs from the Collection, Dallas Museum of Art
Surroundings, Tel Aviv Museum of Art, Tel Aviv

1996
Being & Time: The Emergence of Video Projection, Albright-Knox Art Gallery, Buffalo; Portland Art Museum; Contemporary Art Museum, Houston; Cranbrook Art,Museum, MI Face a l'Histoire 1933-1996, Centre Georges Pompidou, Paris
ID, Stedelijk Van Abbemuseum, Eindhoven; Nouveau Musée/Institut, Villeuerbanne,
NowHere, Louisiana Museum of Modern Art, Humlebaek 10th Biennale of Sydney, Sydney, Australia

1995
Distant Relations: A Dialogue Among Chicano, Irish and Mexican Artists, Santa Monica Museum of Art; Ikon Gallery, Birmingham; Camden Arts Centre, London, Irish Museum of Modern Art, Dublin
Landscape Fragments, Centre d'Art Contemporain de Vassiviere, Limousin
Sites of Being, The Institute of Contemporary Art, Boston
New Art in Britain, Muzeum Sztuki, Lodz
Trust, Tramway, Glasgow
Willie Doherty/Andreas Gursky, Moderna Museet, Stockholm, Sweden IMMA/Glen Dimplex Artists Award, The Irish Museum of Modern Art, Dublin Double Play - Beyond Cognition, Sint-Niklaas City Academy, Belgium

1994
Turner Prize 1994, Willie Doherty, Peter Doig, Antony Gormley, and Shirazeh Houshiary, Tate Gallery, London
From Beyond the Pale: Selected Works and Projects, Part 1, Irish Museum of Modern Art, Dublin, Ireland
Cocido y Crudo, Museo Nacional Centro de Arte Reina Sofia, Madrid
Points of Interest, Points of Departure, John Berggruen Gallery, San Francisco Kraji/Places, Moderna Galerija Ljubljana, Museum of Modern Art, Slovenia The Act of Seeing (Urban Space), Foundation pour l'Architecture, Brussels The Spine, De Appel, Amsterdam

1993
Krieg (War), Neue Galerie, Graz
Critical Landscapes, Tokyo Metropolitan Museum of Photography, Tokyo
Prospect 93, Frankfurter Kunstverein, Frankfurt-am-Main
An Irish Presence, Venice Biennale

1992
Spielholle, Grazer Kunstverein, Graz; Sylvana Laurenz Galerie, Paris; Bockenheimer/University Underground Station, Frankfurt
Twelve Stars, Arts Council Gallery, Belfast
Beyond Glory: Re-presenting Terrorism, College of Art, Maryland Institute, Baltimore Moltiplici Culture, Convento di S.Egidio, Rome
Outta Here, Transmission Gallery, Glasgow
13 Critics 26 Photographers, Centre d'Art Santa Monica, Barcelona 1991 Political Landscapes, Perspektief, Rotterdam
Outer Space, Laing Art Gallery, Newcastle-upon-Tyne and touring Hull, London, Bristol
A Place For Art?, The Showroom, London
Shocks to the System, Royal Festival Hall, London; Ikon, Birmingham 1990 A New Tradition, Douglas Hyde Gallery, Dublin
XI Photography Symposium Exhibition, Graz
The British Art Show, McLellan Galleries, Glasgow; Leeds City Art Gallery; Hayward Gallery, London
I International Foto-Triennale, Esslingen, West Germany
Through the Looking Glass, Barbican Arts Centre, London

1988
Matter of Facts, Musée des Beaux Arts, Nantes; Musee d'Art Moderne, St. Etienne; Metz pour La Photographie, Metz

1987
Ireland/Germany Exchange, Guinness Hop Store, Dublin; Ulster Museum, Belfast; Bonn; Würzburg
Directions Out, Douglas Hyde Gallery, Dublin

1985
Points of View, Heritage Library, Derry

1983
Days and Nights, a Slidework, Art and Research Exchange, Belfast

1982
New Artists, New Works, Project Arts Centre, Dublin; Orchard Gallery, Derry (catalogue published as 8 Weeks 8 Works)

1981
Irish Exhibition of Living Art, Dublin
Work Made Live, National College of Art and Design, Dublin


VIDEOGRAPHY AND PROJECTIONS
2016
LOOSE ENDS
Installation: two HD video projectors, two synchronized HD media players, two digital amplifiers, 5:1 Dolby Digital Surround Sound. Duration: 6:30 minutes. High-definition video (colour and sound). Projected to a minimum size of 225 x 400 cm on two screens in a self-enclosed space. First shown at Regional Cultural Centre, Letterkenny, July 2016.
HOME
Installation: two HD video projectors, two synchronised HD media platers, two digital amplifiers, 5:1 Dolby Digital Surround Sound. High-definition video (colour and sound). Duration: 6:30 minutes. Projected to a minimum size of 225 x 400 cm on two screens in a self-enclosed space. First shown at Villa Merkel, Esslingen, February 2016.

2014
THE AMNESIAC
Installation: one HD video projector, one Blu-Ray player, one digital amplifier, 5:1 Dolby Digital Surround Sound. Duration: 10 minutes. High definition video (colour and sound). Projected to a minimum size of 225 x 400 cm in a self-enclosed space. First shown at Galería Moisés Pérez de Albéniz, Madrid, May 2014.
Edition of 3, no. 1 - INELCOM Collection, Madrid

2013
REMAINS
Installation: one HD video projector, one Blu-Ray player, one Dolby Digital 5.1 amplifier, six speakers, one graphic equalizer. High-definition video (colour and sound).
Duration: 15 minutes. Projected to a minimum size of 2.25 x 4 m onto the wall of a self- enclosed space. First shown at Art Basel Unlimited, June 2013.
Edition of 3, no. 1 - De Pont Foundation for Contemporary Art, Tilburg Edition of 3, no. 2 - Irish Museum of Modern Art, Dublin
WITHOUT TRACE
Installation: one HD video projector, one Blu-Ray player, one digital amplifier, 5:1 Dolby Digital Surround Sound. Duration: 13 minutes. Projected to a minimum size of 2.25 m x 4 m and at most 3.37 m x 6 m; the optimum size for the projection is 2.81 m x 5 m. First shown at Galerie Peter Kilchmann, March-April, 2013

2012
SECRETION
installation: one HD video projector, one Blu-Ray player, one digital amplifier, six speakers. High-definition video (colour and Dolby Digital 5.1 Surround Sound). Duration: 20 minutes., Projected to a minimum size of 4.5 x 7.5 m. onto the wall of a
self-enclosed space.
First shown at dOCUMENTA (13), Kassel, June 2012., Edition of 3. edition of 3, no. 1 Sammlung Goetz, Munich
edition of 3, no. 2 Neue Galerie, Kassel

2011
ANCIENT GROUND
installation: one HD video projector, one Blu-Ray player, one stereo amplifier, two speakers. High-definition video (colour and sound). Duration: 8 minutes. Projected to a minimum size of 197 x 350 cm onto the wall of a self-enclosed space. First shown at Dublin City Gallery The Hugh Lane, September, 2011. Edition of 3
edition of 3, no. 1 KrMu?ller Museum, Otterlo edition of 3, no. 2 Private Collection, New York edition of 3, no. 3 Dublin City Gallery The Hugh Lane

2010
SEGURA
installation: one HD video projector, one Blu-Ray player, one stereo amplifier, two speakers. High-definition video (colour and sound). Duration: 10 minutes. Projected to a minimum size of 197 x 350 cm onto the wall of a self-enclosed space.
First shown at Manifesta 8, Murcia. Edition of 3. edition of 3, no. 2 Private Collection, Italy UNFINISHED
installation: two HD video projectors, two HD media players, two stereo amplifiers, four speakers. High-definition video (colour and sound). Duration: 15 minutes. Projected to a minimum size of 1.69 x 3m onto two walls of a self-enclosed space.
First shown at Alexander and Bonin, New York, May 2010. Edition of 3. edition of 3, no. 1 Private Collection, Madrid
edition of 3, no. 2 Colección de Arte Contemporáneo Fundació "La Caixa" 2009 BURIED
installation: one 16:9 HD video projector, one Blu-Ray disc player, one stereo amplifier, two speakers. High-definition video (colour and sound).Duration: 8 minutes. Projected to a minimum size of 1.69 x 3m onto the wall of a self-enclosed space.
First shown at Fruitmarket Gallery, Edinburgh, April 2009. Edition of 3. edition of 3, no. 1 Philadelphia Museum of Art
edition of 3, no. 2 Imperial War Museum, London and Wolverhampton Art Gallery edition of 3, no. 3 Speed Art Museum, Louisville, KY
THREE POTENTIAL ENDINGS
installation: one 16:9 HD video projector, one Blu-Ray disc player, one stereo amplifier, two speakers. High-definition video (colour and sound). Duration: 11 minutes. Projected to a minimum size of 2.25 x 4 m onto a wall of a self-enclosed space.
First shown at Galerie Peter Kilchmann, Zu?rich, January 2009. Edition of 3.

2008
THE VISITOR
installation: one 16:9 video projector, one HD media player, one stereo amplifier, one graphic equalizer, two speakers. High-definition video (colour and sound). Duration: 10 minutes. Projected to a minimum size of 2.25 x 4 m onto the wall of a self-enclosed space. First shown at Douglas Hyde Gallery, Dublin, April 2008. Edition of 3.
edition of 3, no. 1 Dublin City Art Gallery, The Hugh Lane
edition of 3, no. 2 The Whitworth Art Gallery, Univ. of Manchester
edition of 3, no. 3 KrMu?ller Museum, Otterlo

2007
GHOST STORY
installation: one 16:9 video projector, one HD media player, one stereo amplifier, one graphic equalizer, two speakers, High-definition video (colour and sound). Duration: 15 minutes. Projected to a minimum size of 2.25 x 4 m onto the wall of a self-enclosed space. First shown at 52nd Venice Biennale, 2007, Northern Ireland Pavilion. Edition of 3.
edition of 3, no. 1 StGalerie im Lenbachhaus, Mu?nchen edition of 3, no. 2 The Dallas Museum of Art
edition of 3, no. 3 Ulster Museum, Holywood, N.Ireland 2006 EMPTY
installation: one 16:9 video projector, one DVD player, one stereo amplifier, two speakers. DVD (colour, sound) Duration: 8 minutes. Projected to a minimum size of 1.97 x 3.5 m onto the wall of a self-enclosed space. Edition of 3.
First shown at Kerlin Gallery, Dublin October, 2006 edition of 3, no. 1 Irish Museum of Modern Art, Dublin edition of 3, no. 2 The Museum of Modern Art, New York edition of 3, no. 3 Private Collection, Rydal, PA PASSAGE
installation: one 16:9 video projector, one HD media player, one stereo amplifier, two speakers, High-definition video (color and sound) Duration: 7:52 minutes Projected to a minimum size of 1.3 x 2.3m onto the wall of a self-enclosed space.
First shown at Laboratorio Arte Alameda, Mexico City, September 2006. edition of 3, no. 1 Fondation Louis Vuitton pour la Création, Paris edition of 3, no. 3 Collezione "La Gaia", Busca (Cuneo)

2005
CLOSURE
installation: one 16:9 video projector, one DVD player, one stereo amplifier, two speakers, one DVD player (color, sound) projected to a size of 1.3m x 2.3m onto the wall of a self- enclosed space. Duration 11.20 minutes, looped.
First shown at Galeria Pepe Cobo, Madrid, November 2005. edition of 3, no. 1 Private Collection, Madrid
edition of 3, no. 2 Private Collection, Amsterdam edition of 3, no. 3 Sammlung Hoffman, Berlin

2004
NON-SPECIFIC THREAT
installation: one 4:3 video projector, one DVD player, one stereo amplifier, two speakers, one DVD player (colour and sound) projected to a size of 1.5m x 2m onto the wall of a self- enclosed space. Duration 7.46 minutes looped.
First shown at Galerie Peter Kilchmann, Zu?rich, January, 2004, Edition of 3 edition of 3, no. 1 Sammlung Goetz, Munich
edition of 3, no. 2 Centro Ordóñez-Falcon de Fotografía, Donostia-San Sebastian edition of 3, no. 3 Walker Art Center, Minneapolis

2003
DRIVE
installation: two 4:3 video projectors, two DVD players, one synchronizer, one stereo amplifier, four speakers, two DVDs (colour, sound) projected onto two freestanding 3m x 4m screens suspended in a self-enclosed space. Duration: two 30 seconds looped.
First shown at Art Unlimited, Art 34 Basel, June 2003. Edition of 3, no. 1 Private Collection, Pamplona, Spain

2002
RE-RUN
installation: two 4:3 video projectors, two DVD players, one synchronizer, two DVDs (colour) projected onto two 3m x 4m screens suspended in a self-enclosed space. Duration: 30 seconds looped.
First shown at the 25th Bienal de SPaulo, February 2002. Unique. Collection: Tate, London

2002
RETRACES
installation: seven DVD players, seven 27-inch color monitors and seven DVDs (colour, no sound). The monitors are arranged in a horizontal row at varying heights. Installation will vary according to the available space but a minimum of 45 foot of linear wall space is required. Duration of DVD is 15 minutes, repeated continuously.
First shown at Matt's Gallery, London, January 2002. Edition of 3.

2001
HOW IT WAS
installation: double channel video. Two DVD players, one synchronizing unit, two stereo amplifiers, four loudspeakers and two 16:9 ratio compatible LCD video projectors. Two DVDs (colour, sound, wide screen format). The work is projected onto two freestanding aluminum rear projection screens. Dimensions are variable. Duration: 7 minutes. First shown at Ormeau Baths Gallery, Belfast, 2001.
Unique
MANY HAVE EYES BUT CANNOT SEE
installation: two DVD players, two 20 inch color monitors and two DVD's (colour, no sound). The monitors are arranged in a horizontal row 12 inches apart at eye level (55 inches from the bottom of the shelf to the ground). The video is in wide screen format, 16:9 ratio. Duration of DVD is 20 minutes, 1 minute loop.
First shown at Alexander and Bonin, New York, June 2001. Edition of 3.

1999
CONTROL ZONE
installation: one video disc player, one video projector, one video disc (colour, no sound) projected directly onto the wall of a self enclosed space to 48 x 72 inches. Duration of 30 minutes repeated continuously.
First shown at Koldo Mitxelena, San Sebastian, May 1999. RESTRICTED ACCESS
installation: three video disc players, three 20 inch color monitors, and three video discs (colour, no sound). The monitors are arranged in a horizontal row at eye level (51 inches from the ground). Duration: 27 minutes repeated continuously.
First shown at Alexander and Bonin, New York, May 1999. Edition of 3. Edition of 3, no. 1 Afinsa, Madrid
TRUE NATURE
an installation of five video disc players, five video projectors, five stereo amps, ten speakers and five video discs (color and sound), projected onto five 120 x 156 inch double-sided screens arranged in a self enclosed space, duration of 27 minutes repeated continuously.
First shown at The Renaissance Society, Chicago, March 1999. Unique. Collection: Solomon R. Guggenheim Museum, New York

1998
SOMEWHERE ELSE
installation: of four video disc players, four video projectors, four stereo amplifiers, eight speakers, one synchronizing unit, and four video discs (color and sound) projected onto four screens in a self enclosed space, duration of 30 minutes repeated continuously.
First shown at Tate Gallery Liverpool, August 1998. Unique. Collection: The Carnegie Museum of Art, Pittsburgh SOMETIMES I IMAGINE IT'S MY TURN
installation: one 4:3 video projector, one DVD player, one stereo amplifier, two speakers, one DVD (colour, sound) projected onto one 2.7m x 3.6m freestanding screen in a self enclosed space. Duration: 3 minutes looped.
First shown at Angles Gallery,Los Angeles, March 1998.
Edition of 3, no. 1 Fonds National d'Art Contemporain, Puteaux Edition of 3, no. 2 Irish Museum of Modern Art, Dublin

1997
BLACKSPOT
an installation of one video disc player, one video projector, one video disc (color, no sound) projected directly onto the wall of a self enclosed space to 48 x 72 inches, duration of 30 minutes repeated continuously.
First shown at Galerie Peter Kilchmann, Zu?rich, September 1997. Edition of 3. edition of 3, no. 1: Vancouver Art Gallery
SAME OLD STORY
an installation of two video disc players, two video projectors, two stereo amplifiers, two speakers, one synchronizing unit and two laser discs (color and sound) projected onto two free standing 120 x 156 x 24 inch screens, duration of 10 minutes repeats continuously.
First shown at Matt's Gallery, London, June - August, 1997. Unique. Collection: Fondation Louis Vuitton pour la Création, Paris

1996
TELL ME WHAT YOU WANT
an installation of two 29 inch color monitors, two wall brackets, two videotape players and two video tapes (color and sound), the monitors are positioned to face each other, duration of 10 minutes repeated continuously.
First shown at Galleria Emi Fontana, Milan, May 1996. Edition of 3. edition of 3, no. 1 The British Council, London.
edition of 3, no. 2 Tate, London THE WRONG PLACE
an installation of one video disc player, one video projector, one stereo amplifier, two speakers and one video disc (color and sound), projected to entirely fill one wall in a self enclosed space, duration of 10 minutes repeated continuously. Dimensions are variable. First shown at ARC, Musée d'Art Moderne de la Ville de Paris, 1996. Unique.

1995
FACTORY (RECONSTRUCTION)
an installation of one 29 inch color monitor, one wall bracket, one video player and one videotape (color, sound). The video is shown in conjunction with a variable number of cibachrome photographs from the series entitled "Factory". duration of 10 minutes repeated continuously.
First shown at Kerlin Gallery, Dublin, February 1995. Edition of 3.

1994
NO SMOKE WITHOUT FIRE
an installation of one video disc player, one video projector, one stereo amplifier, two speakers, one videotape (color, sound), projected to entirely fill one wall in a self enclosed space, duration of 10 minutes repeated continuously. Dimensions are variable.
First shown in Cocido y Crudo, at the Museo Nacional Centro de Arte Reina Sofia Madrid, December 1994. Unique.
Collection: Centro de Artes Visuales Fundación Helga de Alvear, Cáceres AT THE END OF THE DAY
an installation of one video disc player, one video projector, one stereo amplifier, two speakers, one video disc (color and sound), projected to entirely fill one wall in a self enclosed space, duration of 10 minutes repeated continuously Dimensions are variable. First shown at The British School at Rome, November, 1994. Unique.
Collection: Arts Council of England, London. 1993 THE ONLY GOOD ONE IS A DEAD ONE
installation: two 4:3 video projectors, two DVD players, two stereo amplifiers, four speakers, two DVDs (colour, sound), projected to a size of 3m x 4m onto two walls of a self-enclosed space. Duration: 30 minutes looped.
First shown at Matt's Gallery, London, November 1993. Unique. Collection: Weltkunst Foundation.
30 JANUARY, 1973
an installation of two Kodak Carousel projectors, two 70 - 120 zoom lenses, four auto reverse audio cassette players, four stereo amplifiers, eight speakers, four audio cassette tapes and two 35 mm color slides projected back to back onto a wall of two interlocking wooden constructions positioned in the center of a dark space. Duration of 3 minutes repeated continuously. Dimensions are variable.
First shown at Douglas Hyde Gallery, Dublin, 1993. Unique. Collection of the Artist

1991
THEY'RE ALL THE SAME
an installation of one Kodak Carousel 2050 slide projector, one 60mm projector lens, one auto reverse audio cassette player, one stereo amplifier, two speakers, one audio cassette and one 35mm slide projected onto a wood construction in a dark space. Duration of 3 minutes repeated continuously. Dimensions are variable.
First shown in Outer Space, at the Laing Art Gallery, Newcastle-upon-Tyne, November 1991. Unique.
Collection: Sammlung Goetz, Munich.

1990
SAME DIFFERENCE
an installation with four Kodak Carousel 2050 slide projectors, two Kodak Carousel Interval Timers, two Kodak 75-120 mm zoom lenses, two Kodak 60mm fixed lenses, two sets of eighty-one 35mm black and white text slides and two 35mm black and white slides projected into two diagonally opposite corner walls, duration of three minutes repeated continuously. Dimensions are variable.
First shown at Matt's Gallery, London, November 1990. Unique. Collection: Arts Council of England, London.


COLLECTIONS
49 NORD 6 EST - Frac Lorraine, Metz Albright-Knox Art Gallery, Buffalo, New York The Art Institute of Chicago
Arts Council Collection, London Arts Council of Ireland, Dublin The British Council, London
The Carnegie Museum, Pittsburgh
Centro Odóñez-Falcon de Fotographia, San Sebastian
Colección de Arte Contemporáneo, Fundació La Caixa, Barcelona Crawford Art Gallery, Cork
Dallas Museum of Art
Dublin City Gallery The Hugh Lane, Dublin
The European Commission/Parliament, Brussels Fonds National d'Art Contemporain, Puteaux FRAC - Champagne-Ardenne, Reims
The Imperial War Museum, London Irish Museum of Modern Art, Dublin The Israel Museum, Jerusalem Kadist Art Foundation, Paris
KrMüller Museum, Otterlo, Netherlands Moderna Museet, Stockholm
MoMA - Museum of Modern Art, New York Solomon R. Guggenheim Museum, New York Speed Art Museum, Louisville, KY Wolverhampton Art Gallery
Visual Research Centre, Dundee (Scotland) Tate Liverpool, Liverpool (England) Hiscox Art Projects, London (England) Tate Britain, London (England)
Montreal Museum of Fine Arts Sammlung Goetz, Munich
StGalerie im Lenbachhaus & Kunstbau, Munich Ulster Museum, Belfast
Vancouver Art Gallery, BC Walker Art Center, Minneapolis Weltkunst Foundation, London
Yale University Art Gallery, New Haven

COMMISSIONS
1995
The Space Between, video installation, El Puente de Vizcaya, Bilbao Make Believe, a poster project for British Rail mainline stations

1994
Installation, Washington Square Windows, Grey Art Gallery, New York 1993 Burnt-Out Car, street poster, An Irish Presence, Venice Biennale

1992
It's Written All Over My Face, Billboard Poster commissioned by the BBC Billboard Project as part of the Commissions and Collaborations season
A Nation Once Again, Street Poster commissioned by Transmissions Gallery, Glasgow as part of "Outta Here"

1990
False Dawn, Billboard Project organized by Irish Exhibition of Living Art, Dublin Billboard Project, Irish Exhibition of Living Art, Dublin

1988
Art for the Dart, a project on Dublin's suburban rail link, organized by the Douglas Hyde Gallery, Dublin
Metro Billboard Project, Projects UK - Billboard shown in Newcastle, Leeds, Manchester, Derry and London

BIBLIOGRAPHY
2016
Willie Doherty, Home, catalogue, Villa Merkel, Germany

2015
Willie Doherty, Again and Again, catalogue, Fundaçao Calouste Gulbenkian, CAM, Lisbon 2013 Willie Doherty, Unseen, catalogue, City Factory Gallery, Derry/Londonderry's UK City of
Culture, 2013. Publisher: Matt's Gallery, London, Nerve Centre, Derry

2012
Willie Doherty, Lapse, catalogue, Kerlin Gallery, Dublin, July 2012, text by Isabel Nolan 2011 Willie Doherty, Disturbance, catalogue, Dublin City Gallery The Hugh Lane, Dublin,

2009
Willie Doherty, Buried, catalogue, The Fruitmarket Gallery, Edinburgh, text by Willie Doherty and Fiona Bradley
Willie Doherty, Requisite Distance, New Haven, Yale University Press; text by Charles Wylie

2007
Ghost Story, Fondazione La Biennale di Venezia, Venice
Willie Doherty, Yilmaz Dziewior, Matthais Mühling, Kunstverein Hamburg

2006
Willie Doherty, Out of Position, Marina munguia, Laboratorio Arte Alameda, Mexico City 2002 Willie Doherty, False Memory, London: Merrell Publishers Ltd; Dublin: Irish Museum
of Modern Art; texts by Carolyn Christov-Barkargiev and Caoimhín Mac Giolla Léith Willie Doherty, True Nature, Chicago: The Renaissance Society; text by Caoimhin Mac Giolla Léith
Willie Doherty, RE-RUN, 25 Bienal de SPaulo exhibition brochure, SPaulo: The
British Council; text by Charles Merewether

2001
Willie Doherty, How it Was, Belfast: Ormeau Baths; text by Daniel Jewesbury

2000
Willie Doherty, extracts from a file, DAAD, Berlin; essays by Meschede, Friedrich, Eva Schmidt, Hans-Joachim Neubauer

1999
Willie Doherty, Dark Stains, San Sebastian: Koldo Mitxelena; essays by Lorés, Maite, and
Martin McLoone

1998
Somewhere Else, Liverpool: Tate Gallery, in association with the Foundation for Art and Creative Technology (FACT); essay by Ian Hunt

1997
Willie Doherty, Same Old Story, London: Matt's Gallery; essays by Martin McLoone and Jeffrey Kastner

1996
Willie Doherty, Musee d'Art Moderne de la Ville de Paris; essay by Olivier Zahm
Willie Doherty, In the Dark. Projected Works, Bern: Kunsthalle Bern; essays by Carolyn Christov-Bakargiev and Ulrich Loock
Willie Doherty, The Only Good One is a Dead One, Edmonton: The Edmonton Art Gallery, Mendel Art Gallery; Lisbon: Fundacao Calouste Gulbenkian; essay by Jean Fisher
No Smoke Without Fire, Matt's Gallery, London; text by Willie Doherty

1994
At the End of the Day, British School at Rome; essay by Carolyn Christov-Bakargiev

1993
Willie Doherty, Partial View, Douglas Hyde Gallery, Dublin in association with the Grey Art Gallery and Study Center, New York University and Matt's Gallery, London; essay by Dan Cameron


SELECTED PRESS

2017
Nicholas Allen, 'Post-Troubles art: Ghost-Haunted Land by Declan Long review',
The Irish Times, 23 December 2017
David Frankel, 'Willie Doherty', Artforum, September 2017
Ian Christie, 'Willie Doherty's Loose Ends: revolution remembered', BFI, 14 July 2017

2016
Aidan Dunne, 'Building a Pallas: 20 years of modern art in Ireland', The Irish Times,
13 December 2016
Blouin ArtInfo, 'Datebook: Willie Doherty Loose Ends at Kerlin Gallery, Dublin', 10 October 2016
Oisín Murphy Hall, 'Artsdesk: Willie Doherty, Loose Ends', Totally Dublin, October 2016 Stephen Mulhall, 'Architecture Plus', Architecture Ireland, Autumn 2016, pp. 82-83 Linda Taylor, 'Far from the Madding Crowd', Frieze, 30 September 2016
Aidan Kelly Murphy, The Thin Air, 27 September 2016 Aidan Dunne, The Irish Times, 20 September 2016 RTÉ Arena, 6 July 2016
Riann Coulter, 'Modern Ireland in 100 Artworks: True Nature by Willie Doherty',
The Irish Times, 25 June 2016
Martin Mezger, 'Zeiten des Terrors', EZeitung, 17 February 2016
SWR Mediathek (TV), 13 February 2016

2015
Maev Kennedy, 'Paint the town green: the hidden history of Irish art', The Guardian, 13 May 2015

2014
The New Yorker, 'Willie Doherty, Alexander and Bonin', 17 November 2014, pp. 14-15 Declan Long, 'Willie Doherty in conversation', Art in the Contemporary World podcast, Episode 2, 10 April 2014
Colin Perry, 'Willie Doherty, City Factory Gallery', Frieze, No. 161, March 2014, p. 163
Mousse, Issue 42, February/March 2014 RTÉ One, The Works, 28 February 2014
Morgan Quaintance, Art Review, January/February 2014, p. 119 Hayley Reynolds, Le Cool Dublin, 16 January 2014
Art Media Agency Newsletter, Issue 134, pg. 26, January 2014

2014
RTE Radio 1 Arena, interview with Sean Rocks, 15 January 2014

2013
Cristín Leach Hughes, The Sunday Times Culture, 22 December 2013
Irish Arts Review, Winter 2013, pg. 46
Regine Debatty, We Make Money Not Art, 15 December 2013 Mark Sheerin, Culture 24, 3 December 2013
BBC Turner Prize Award Night, Panel Discussion, 2 December 2013
Ciaran Daly, BBC Arts & Culture, Knowledge & Leaning Beta 21 November 2013 Aileen Burns/Johan Lundh, Art Agenda, 18 November 2013
Charlotte Higgins, The Guardian, 29 September 2013 Chris Clarke, Art Monthly, September 2013
Irish Arts Review, Autumn 2013, p. 30
David Frankel, Artforum, September 2013, pg. 348-349
this is tomorrow contemporary art magazine, 11 August 2013 Cristín Leach Hughes, The Sunday Times, 2 June 2013
Pavel Barter, The Sunday Times, 5 May 2013, pp. 8-9 Aoife Rosenmeyer, Art Review, April 2013

2012
Joe McHugh (Chair of the Oireachtas Committee on the Implementation of the Good Friday Agreement), Derry Journal, 6 July 2012
Ruth Hazard, Culture 24, 4 May 2012
Megan Okrandm, Art in America, 21 May 2012
Eithne Shortall, The Sunday Times Culture, 3 June 2012, pp. 6-7 Aidan Dunne, The Irish Times, The Ticket, 1 June 2012
Joshua Dector, Artforum, May 2012
Skye Sherwin, The Guardian Guide, 4 April 2012 Robert Clark, The Guardian Guide, 7 January 2012

2011
Cristín Leach, The Sunday Times, 18 September 2011, p. 41
Coline Milliard, Artinfo, 12 September 2011 Jonathan Jones, The Guardian, 6 September 2011
Gemma Tipton, 'Across the Divide', The Irish Times Dublin Contemporary 2011 Supplement, p. 14
Tim Maul, 'Willie Doherty, Lack', CIRCA, Issue 131, March 2011

2010
The Visual Artists News Sheet, Jan/Feb 2010
'Catch some terror-ific art!', Cork Independent, 2010

2009
Marc O'Sullivan, 'The End is Nigh Again', The Irish Examiner, 12 December 2009 'A Great Climate of Fear', Gerry McCarthy, The Sunday Times, 6 December 2009 'Art in an Age of Anxiety', Tom Dunne, Irish Arts Review, Volume 26, 2009
Luke Clancy, 'Willie Doherty: Three Potential Endings', ArtReview, 27 November 2009 Aidan Dunne, 'Apocolyptic Visions', The Irish Times, The Ticket, 20 November 2009 Nicky Bird, Art Monthly, No. 327, June 2009
Liz Shannon, The List: Glasgow & Edinburgh Events Guide, 14 May 2009 Duncan Macmillan, 'Master of the Dark', The Scotsman, 12 May 2009 Moira Jeffrey, 'Trial by Fire', Scotland on Sunday, 3 May 2009
James Garner, The Metro, 30 April 2009 Robert Clark, The Guardian, 25 April 2009 The Big Pick, The Big Issue, 23 April 2009
Jessica Lack, The Guardian - online, 22 April 2009 'Haunted by Ghosts of the Past', The Herald, 18 April 2009
Susan Mansfield, 'Visiting Ghosts', The Scotsman, 4 April 2009
Benjamin Genocchio, 'A Sampling of What's On', The New York Times, 16 March 2009 Fergal Gaynor, 'ev+a 2009', Circa 128, Summer 2009, pp. 86-91

2008
Maria Fusco, Matts Gallery, Frieze, Issue 114 2008
Irish Arts Review, Spring 2008
Declan Long, 'Selective memories, collective histories', Circa 123, Spring 2008 Jacqui McIntosh, 'From Jesus to Sartre', Magill, Issue 2, 2008
Mick Heaney, 'Distant Voices, Still Lives', The Sunday Times, 5 August, 2008 Jean Wainwright, 'Willie Doherty: Replays', Art Review, 4 August 2008

2007
Martin Herbert, 'Below the Waterline', Frieze 109, September 2007 Gavin Murphy, 'Global Enterprise', Circa, Summer 2007, pp. 26-33
Michael Wilson, 'Willie Doherty, Alexander and Bonin', Artforum, March, p. 314 2006 Aidan Dunne, 'Beauty out of the blue', The Irish Times, 25 October 2006
Declan Long, 'Willie Doherty: Empty', Circa, Winter 2006, pp. 104-106 Sergio R. Blanco, 'Mira Doherty al centro', Reforma, 26 September 2006

2005
Mark Durden, 'Willie Doherty: Non-Specific Threat', Portfolio #41, June, pp. 62-65 Javier Hontoria, 'Willie Doherty', El Mundo - El Cultural, 10 November, p. 35

2005
Isaac Julien, 'Film Best of 2005: Isaac Julien', Artforum, December 2005, p. 61 Alberto Martín, 'Memoria y devastación', El País, 3 December 2005
Marcia E. Vetrocq, 'Venice Biennale: Be Careful What You Wish For', Art in America,
September 2005, pp. 109-119

2005
Chrissie Iiles, 'Venice Biennial 2005', Frieze, Issue 93, September, pp. 98-100 Maeve Connolly, 'In Conversation: Experience and Alterity at the Venice Biennale', Contemporary, Issue 74, June, pp. 22-24

2004
Edward Leffingwell, 'Willie Doherty at Alexander and Bonin', Art in America, October 2004, pp. 151-2
Michael Wilson, 'Willie Doherty', Artforum, May 2004, p. 209
Johannes Meinhardt, 'Recherche - entdeckt!', Kunstforum International, No. 173, November/December, p. 379
Edgar Schmitz, 'Turner Prize 2003', Kunstforum International, No. 168, January/February, pp. 373

2003
Aidan Dunne, 'International Reviews', ARTnews, June 2003, p. 128 'Reviews', Modern Painters, July 2003, pp. 120-121
Turner at 20, Tate, in: Arts and Culture, Nov/Dec pp.46-53
Adrian Searle, States of Decay, G2, in: The Guardian, 29 Oct. pp 12-14

2002
Louisa Buck, 'Remembering Bloody Sunday-and all the rest', The Art Newspaper, No. 122, February 2002, p. 18
David Frankel, 'Willie Doherty', Artforum, September 2002, p. 93 Cherry Smyth, 'Willie Doherty', Art Monthly, March 2002, pp. 30-31 The Sunday Times Ireland, 'Derry heir', 20 October 2002

2001
Katerina Gregos, 'New York Now', Contemporary Visual Arts, Issue 34, Summer 2001, p. 52-56
Caoimhín Mac Giolla Léith, 'Willie Doherty', Artforum, February 2001, p. 164 2000 Aidan Dunne, The Irish Times, 27 September 2000
Jane Humphries, Circa 94, Winter 2000

1999
Garrett Holg, 'Willie Doherty: The Renaissance Society', Art News, Summer 1999, pp. 161-62
Ken Johnson, 'Willie Doherty', The New York Times, 21 May 1999, E31
Caoimhín Mac Giolla Léith, 'Willie Doherty', Artforum, February 1999, pp. 106-107 Keith Patrick, 'Dark Stains: Film Noir Elements in the work of Willie Doherty', Contemporary Visual Arts 23, Summer 1999, pp. 68-69

1998
Aidan Dunne, 'A troubled landscape', The Irish Times, 9 September 1998, p. 13 1997 Michael Archer, 'Willie Doherty, Matt's Gallery', Artforum XXXVI, No. 3,
November 1997, p. 126
Aoife Mac Namara, 'The Only Good one is a Dead One: The Art of Willie Doherty',
Fuse 20, No. 4, August 1997, p. 12-23
Aoife Mac Namara, 'Willie Doherty: Art Gallery of Ontario', Parachute 87, Montréal, Summer 1997, p. 53-54
John Slyce, 'Willie Doherty: Matt's Gallery', Flash Art XXX, No. 197, November - December 1997, p. 114

1996
David Frankel, 'Willie Doherty, Alexander and Bonin', Artforum, May 1996

1994
Jeffrey Kastner, 'Willie Doherty, Matt's Gallery', Frieze 14, January/February 1994 Roberta Smith, 'Bluntly, the Tragedy of The Troubles', The New York Times, 9 September 1994

Willie Doherty

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