No Return

Willie Doherty (Photographer)

Research output: Non-textual formExhibition

Abstract

Alexander and Bonin is pleased to announce the opening of three
solo exhibitions of works by Sylvia Plimack Mangold, Robert Kinmont,
and Willie Doherty


Willie Doherty’s No Return (2017), a single channel projection, will be installed in the video gallery. No Return was shot in Braddock, a town once known as the “cradle of Western Pennsylvania’s steel industry,” before suffering from its collapse in
the 1980s. While the work engages with the landscape as it looks today, it also approaches it as both a repository for the memories of past experiences and a witness to the ravages of socio-economic change. In looking at the present, No Return visualizes our shared apprehension about the future. Doherty’s approach and process is speculative. Often taking an existing image or other information as a starting point, he then proceeds to see what can be discovered or found in a location. No Return extends Doherty’s interest in the relationship between landscape and memory and working in locations that bear the traces of contested histories and narratives; some forgotten, some half remembered. The work was commissioned by the Mattress Factory, Pittsburgh for their exhibition so it is which opens on April 7, 2017

Fingerprint

Willie Doherty
Steel
Repository
Sylvia Plimack Mangold
Witness
Economic Change
Apprehension
History
Cradle
Industry
Pittsburgh
1980s
Mattress Factory

Cite this

@misc{f6498d99bc464bcab2e378f98d93e212,
title = "No Return",
abstract = "Alexander and Bonin is pleased to announce the opening of threesolo exhibitions of works by Sylvia Plimack Mangold, Robert Kinmont,and Willie Doherty Willie Doherty’s No Return (2017), a single channel projection, will be installed in the video gallery. No Return was shot in Braddock, a town once known as the “cradle of Western Pennsylvania’s steel industry,” before suffering from its collapse inthe 1980s. While the work engages with the landscape as it looks today, it also approaches it as both a repository for the memories of past experiences and a witness to the ravages of socio-economic change. In looking at the present, No Return visualizes our shared apprehension about the future. Doherty’s approach and process is speculative. Often taking an existing image or other information as a starting point, he then proceeds to see what can be discovered or found in a location. No Return extends Doherty’s interest in the relationship between landscape and memory and working in locations that bear the traces of contested histories and narratives; some forgotten, some half remembered. The work was commissioned by the Mattress Factory, Pittsburgh for their exhibition so it is which opens on April 7, 2017",
author = "Willie Doherty",
note = "Willie Doherty (b.1959, Derry, Northern Ireland) continues to live and work in Derry. His native landscape has been the focus of his work since his black-and-white photographs from the early 1980s. Doherty became known for his photographs overlaid with text, which dealt directly with the language of conflict as it relates to representation of place. He now works primarily in video, and continues with mediations on the changing political landscape of Northern Ireland. Doherty’s photography and video installations have been included in numerous international exhibitions such as “Cocido y Crudo” at Museo Nacional Centro de Arte Reina Sofia, Madrid (1994); “1999 Carnegie International,” Pittsburgh; “XXV Bienal de S{\~a}o Paulo” (2002); the “Venice Biennale” (2007); “dOCUMENTA” (13), Kassel. He has been nominated twice for the Turner Prize; once in 1994 and again in 2003. In 2006, his work was the subject of a video survey exhibition organized by Laboratorio Arte Alameda in Mexico City and, in 2007, the St{\"a}dtische Galerie im Lenbachhaus und Kunstbau in M{\"u}nich and Kunstverein in Hamburg collaborated on an exhibition and catalogue, “Willie Doherty: Anthology of Time-Based Works.” In 2010, Doherty filmed for the first time outside of Ireland and this work, ‘SEGURA’ was shown at “Manifesta 8” in Murcia. In 2016, Villa Merkel in Esslingen exhibited several recent and new video works by Doherty. In 2011, his work was the subject of one-person exhibition at Dublin City Gallery, The Hugh Lane. “One Place Twice: Photo/Text/85/92,” Doherty’s exhibition of early black-and-white photographs was on view at Alexander and Bonin in 2012. From 2013 – 2014 a major survey exhibition of Doherty’s video and photographic works “UNSEEN” was organized by the City Factory Gallery, Dublin and traveled to the Museum De Pont, Tilburg. In 2015, CAM- Funda{\cc}{\~a}o Calouste Gulbenkian, Lisbon presented “Again and Again,” a major solo exhibition of Doherty’s video and photographic works. In 2017, the artist shot a new video work on location in Braddock, PA. This work was included in “so it is”, an exhibition of seven Irish artists at the Mattress Factory in Pittsburgh. Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including Neue Galerie, Museumslandschaft Hessen Kassel (2013), The Annex, IMMA, Dublin (2013), Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012), Towner Gallery Eastbourne (2012) Dublin City Gallery, The Hugh Lane (2011) The Speed Art Museum, Kentucky (2011), Institute of Contemporary Art, Toronto (2009), Fruitmarket Gallery, Edinburgh (2009), Lenbachhaus, M{\"u}nchen (2007), Kunstverein, Hamburg (2007), Laboratorio Arte Alameda, Mexico City (2006), Irish Museum of Modern Art, Dublin (2002). Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Group shows include Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale 2007, 2005 and 1993, Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).",
year = "2017",
month = "5",
day = "2",
language = "English",

}

Doherty, W, No Return, 2017, Exhibition.
No Return. Doherty, Willie (Photographer). 2017. Event: No Return, Alexander and Bonin 47 Walker Street New York, NY 10013, New York, United States.

Research output: Non-textual formExhibition

TY - ADVS

T1 - No Return

A2 - Doherty, Willie

N1 - Willie Doherty (b.1959, Derry, Northern Ireland) continues to live and work in Derry. His native landscape has been the focus of his work since his black-and-white photographs from the early 1980s. Doherty became known for his photographs overlaid with text, which dealt directly with the language of conflict as it relates to representation of place. He now works primarily in video, and continues with mediations on the changing political landscape of Northern Ireland. Doherty’s photography and video installations have been included in numerous international exhibitions such as “Cocido y Crudo” at Museo Nacional Centro de Arte Reina Sofia, Madrid (1994); “1999 Carnegie International,” Pittsburgh; “XXV Bienal de São Paulo” (2002); the “Venice Biennale” (2007); “dOCUMENTA” (13), Kassel. He has been nominated twice for the Turner Prize; once in 1994 and again in 2003. In 2006, his work was the subject of a video survey exhibition organized by Laboratorio Arte Alameda in Mexico City and, in 2007, the Städtische Galerie im Lenbachhaus und Kunstbau in Münich and Kunstverein in Hamburg collaborated on an exhibition and catalogue, “Willie Doherty: Anthology of Time-Based Works.” In 2010, Doherty filmed for the first time outside of Ireland and this work, ‘SEGURA’ was shown at “Manifesta 8” in Murcia. In 2016, Villa Merkel in Esslingen exhibited several recent and new video works by Doherty. In 2011, his work was the subject of one-person exhibition at Dublin City Gallery, The Hugh Lane. “One Place Twice: Photo/Text/85/92,” Doherty’s exhibition of early black-and-white photographs was on view at Alexander and Bonin in 2012. From 2013 – 2014 a major survey exhibition of Doherty’s video and photographic works “UNSEEN” was organized by the City Factory Gallery, Dublin and traveled to the Museum De Pont, Tilburg. In 2015, CAM- Fundação Calouste Gulbenkian, Lisbon presented “Again and Again,” a major solo exhibition of Doherty’s video and photographic works. In 2017, the artist shot a new video work on location in Braddock, PA. This work was included in “so it is”, an exhibition of seven Irish artists at the Mattress Factory in Pittsburgh. Nominated twice for the Turner Prize (2003, 1994), Doherty’s work has been the subject of many solo museum shows including Neue Galerie, Museumslandschaft Hessen Kassel (2013), The Annex, IMMA, Dublin (2013), Statens Museum for Kunst, National Gallery of Denmark, Copenhagen (2012), Towner Gallery Eastbourne (2012) Dublin City Gallery, The Hugh Lane (2011) The Speed Art Museum, Kentucky (2011), Institute of Contemporary Art, Toronto (2009), Fruitmarket Gallery, Edinburgh (2009), Lenbachhaus, München (2007), Kunstverein, Hamburg (2007), Laboratorio Arte Alameda, Mexico City (2006), Irish Museum of Modern Art, Dublin (2002). Renaissance Society, Chicago (1999) and Tate Gallery, Liverpool (1999). Group shows include Manifesta 8 (2010), 3rd Auckland Triennial (2007), Venice Biennale 2007, 2005 and 1993, Reprocessing Reality, MOMA PS.1, New York (2006), Istanbul Biennale (2003) and the Carnegie International (1999).

PY - 2017/5/2

Y1 - 2017/5/2

N2 - Alexander and Bonin is pleased to announce the opening of threesolo exhibitions of works by Sylvia Plimack Mangold, Robert Kinmont,and Willie Doherty Willie Doherty’s No Return (2017), a single channel projection, will be installed in the video gallery. No Return was shot in Braddock, a town once known as the “cradle of Western Pennsylvania’s steel industry,” before suffering from its collapse inthe 1980s. While the work engages with the landscape as it looks today, it also approaches it as both a repository for the memories of past experiences and a witness to the ravages of socio-economic change. In looking at the present, No Return visualizes our shared apprehension about the future. Doherty’s approach and process is speculative. Often taking an existing image or other information as a starting point, he then proceeds to see what can be discovered or found in a location. No Return extends Doherty’s interest in the relationship between landscape and memory and working in locations that bear the traces of contested histories and narratives; some forgotten, some half remembered. The work was commissioned by the Mattress Factory, Pittsburgh for their exhibition so it is which opens on April 7, 2017

AB - Alexander and Bonin is pleased to announce the opening of threesolo exhibitions of works by Sylvia Plimack Mangold, Robert Kinmont,and Willie Doherty Willie Doherty’s No Return (2017), a single channel projection, will be installed in the video gallery. No Return was shot in Braddock, a town once known as the “cradle of Western Pennsylvania’s steel industry,” before suffering from its collapse inthe 1980s. While the work engages with the landscape as it looks today, it also approaches it as both a repository for the memories of past experiences and a witness to the ravages of socio-economic change. In looking at the present, No Return visualizes our shared apprehension about the future. Doherty’s approach and process is speculative. Often taking an existing image or other information as a starting point, he then proceeds to see what can be discovered or found in a location. No Return extends Doherty’s interest in the relationship between landscape and memory and working in locations that bear the traces of contested histories and narratives; some forgotten, some half remembered. The work was commissioned by the Mattress Factory, Pittsburgh for their exhibition so it is which opens on April 7, 2017

UR - http://www.alexanderandbonin.com/exhibition/3607

UR - http://www.alexanderandbonin.com/sites/default/files/press%20release_Alexander%20and%20Bonin%2C%20May%202017_1.pdf

M3 - Exhibition

ER -