Patrick Ireland
American; Male; born 1934, died 2022
Brian O'Doherty (born May 1928) is an Irish art critic, writer, artist, and academic. He has lived in New York City for more than 50 years.[1] He has used a number of alter egos, including Patrick Ireland.
In the 1960s, he was an art critic for the New York Times. He commissioned Roland Barthes to write his "Death of the Author" essay for a special edition of Aspen magazine in 1967.[4] He has also been an editor of Art in America and an on-air art critic for NBC.
Mid-career,[4] O'Doherty began signing his work under the name "Patrick Ireland" in reaction to the Bloody Sunday killings in Derry in 1972. For many years, O'Doherty was an influential member of the senior staff of the National Endowment for the Arts, first as director of the Visual Arts Program, and subsequently as director of the Media Arts Program, where he was responsible for the creation of such major public television series as American Masters and Great Performances. He is the author of numerous works of art criticism, including his book American Masters and the influential book Inside the White Cube: The Ideology of the Gallery Space (1976), a series of essays first published in Artforum.[4] In the latter book he discusses and invents[citation needed] the term for the contemporary gallery space. He has also written novels: The Strange Case of Mademoiselle P. (1992), the 2000 Booker Prize-nominated The Deposition of Father McGreevy (1999), and The Crossdresser's Secret (2014). He had a retrospective at Dublin's Hugh Lane Municipal Gallery of Modern Art in 2005.[4]
On 20 May 2008, in recognition of the progress for peace in Ireland, O'Doherty ceremoniously buried his alter ego at the Irish Museum of Modern Art in Dublin, and resumed being called by his birth name.[5][6]
In 2018, at the age of 90, O’Doherty was the subject of three exhibitions celebrating his work in his native Ireland, including the restoration of the room sized “One Here Now” installation he created at the Sirius Arts Centre in Cork in 1995-96.[7]
In The modern art collection, Trinity College Dublin, David Scott writes that:
Much influenced by Marcel Duchamp he is an essentially interrogative artist, constantly questioning artistic conventions and the assumptions on which we base our aesthetic judgements. [Wikipedia 5/6/2020]
