Gradcam 
Jeanette Doyle
Bio

Upcoming exhibitions and projects include ‘Cf’ at the Research Pavilion, Venice (2017). Recent exhibitions and projects include: The Enquiry @ IMMA, The Irish Museum of Modern Art, Dublin (2016); A Unique Press Conference for The European Society for Aesthetics, with ’The Aesthetics Group’, Dublin (organised by curator Kate Strain) (2015);’Jeanette Doyle – Fresh Paintings (Dance)’, DanceHouse Ireland, Dublin 1 (2014/5); TULCA Visual Arts Festival, (Invited Artist),

Galway, Ireland, (curated by Aisling Prior) (2014); ‘The Producers’ a collaborative project by ‘the food thing’ and ‘Gracelands’ with a community garden in Dublin;’YOUR BODY IS A BATTLEGROUND, Pristine Gallery Mexico (curated by Raul Zamudio), (both 2013) ‘the food thing’ at the Liverpool Biennale (curated by Sheena Barrett) ‘Factory Direct’ at The Andy Warhol Museum, Pittsburgh (curated by Eric Shiner) (both 2012)  ‘Jeanette Doyle: Fifteen Days’ also with The Warhol which functioned as a PREQUEL for ‘Factory Direct’; ‘In theFuture the Artist Will Say : That Object is a Work of Art’ (curated by Raul Zamudio) 3RD WARD, NY (2011); Invisible Stranger/ unsichtbare Fremde, Tamtam8 Artspace, Berlin (Curated by NuNu Hung), ART BEIJING 2010 (curated by the:artist:network, New York and Beijing) and MIGUEL AMADO PRESENTS, ISCP, New York.

In the last number of years Doyle has exhibited at the ’09 798 Beijing Biennale, (curated by the:artist:network, New York and Beijing) and ’Something Out of Nothing’, The Invisible Dog, New York, (curated by Manon Slome and Asher Remy-Toledo), ‘Embedded Art Berlin’, The Berlin Art Academy; ‘Preview 09′, White Box, New York; ‘The Promised Land’ (curated by Blanca de la Torre and Nina Colosi), The Project Room for New Media, Chelsea Art Museum, New York; Yoesu Art Festival, South Korea (curated by Raul Zamudio); “Power, Shape”, Bridge Art Centre, Beijing (curated by zhao shulin and Marc hungerbuhler); ‘Critical Mass’ HYCAC, Huang Yan Contemporary Art Center, Beijing (curated by the:artist:network, New York and Beijing); ‘tough’ at mother’s tankstation, Dublin; ‘Spectacular’ Mexico City (curated by Raul Zamudio) and ‘Art in the Life World’ Dublin (curated by Aisling Prior for Breaking Ground).

In previous years exhibitions include: ‘Starline Tours’ Location One,  ’Nine International Artists’ Location One, New York; ‘Places’ Luxe Gallery, New York; Y Gallery, New York; at “SURGE” 798 Art Festival, Beijing and ‘Dream Palace’ A-SPACE, 1ARTBASE, Beijing; ‘Untitled’ (Untitled), PS1 MOMA Contemporary Art Centre, New York and ‘EDGE’, Kochi Museum of Art, Japan. In 2007 Doyle also initiated a collaborative project with curator Sara Reisman, entitled ‘When Art (or In What Regard)’ which exists as a blog and was available as a printed publication at FLOAT Socrates Sculpture Park, New York.

Doyle’s work has also been shown at Dublin City Gallery, The Hugh Lane; The Crawford Municipal Art Gallery, Cork; Ecole NationaleSuperieure des Beaux-Arts, Paris; Museum of Modern Art, Croatia; Brisbane Institute of Modern Art; Australian Centre for Contemporary Art; the ICA and Studio Voltaire, London, Temple Bar Gallery, Dublin; Limerick City Gallery of Art; City Arts Centre, Dublin; Fenderesky Gallery, Belfast and the Nordic Institute for Contemporary Art,Helsinki.

Contact: jeanette@jeanettedoyle.com

Project

Title: Relationships between the ‘dematerial’ as formulated by Lucy R. Lippard and the ‘immaterial’ with particular reference to the work of Jean-François Lyotard.

Supervisors: Dr. Noel Fitzpatrick, Dr. Brian Fay.

Overview: There is an established and broad discourse on ‘immateriality’ in art practice which emerged in the 1960s and which was epitomized by the seminal exhibition Les Immatériaux (co-curated by  Jean-François Lyotard and Thierry Chaput at Centre Georges Pompidou, 1985). The term ’immaterial’ as a contemporary construct is currently used in relation to digital practices often interchangeably with the term ‘dematerial’. ’Dematerialization’ as a trend in practice was operative primarily in the late 60s and early 70s and illustrated by Lucy Lippard’s text ‘Six Years: The Dematerialization of the Art Object’ (1973). This research project will pay particular attention to artists excluded by Lippard on ‘esthetic’ grounds as a counterpoint to Lippard’s inclusive unifying aesthetic. It will demarcate and find resonances between the ’dematerialized’ and the ‘immaterial’ historically and in modes of contemporary practice.

The research project, which is both theoretical-historical and practical in nature has  two primary points of departure for enquiry: (i) the historical-critical examination of the difference between the contemporary theme of ‘immateriality’ and the older established theme of ‘dematerialization’ in relation to Conceptual and contemporary Post-conceptual art practices and (ii) the production of Post-conceptual works through digital means.

Research Outputs

2017:
‘Your face follows me’ – The Enquiry @ IMMA, July 2017.
The Enquiry, a GradCAM Seminar Group hosted by The Irish Museum of
Modern Art which is led by Jeanette Doyle, curated an event of digital
art works and performances influenced by ongoing research by the group
into Lyotard. This included a new series of digital text based
animations by Doyle.

‘Cf’ or ‘The Inaugural Autonomous Biennale’. A Project initiated and
curated by Doyle for GradCAM @ The Research Pavilion Venice, September
2017. This project involved over 100 artists from all across the
globe. Each project was an individual national pavilion where artists
and curators represented a nation of their own choice in a manner of
their own determination.

‘My front precedes me’ The Enquiry @ Venice, September 2017. A
development of ‘Your face follows me’ @ IMMA. This was a re-staging
and modification of the earlier work at IMMA by the group for the
Research Pavilion Venice.

‘I see birds birds flying over the White House’ a research poem in
five acts performed by GradCAM’s Aesthetics Group including Jeanette
Doyle. This was made and performed in response to New York based
artist Michael Bell Smith’s ‘Birds over the White House’ (2006). Bell
Smith’s work is an algorithm of nodes representing birds flying over a
digital schematic plan of the White House. Bell Smith’s ‘Birds over
the White House’ was especially re-purposed for the Aesthetics Group
and incorporated into The Aesthetics Groups performance at The
Research Pavilion.

2018:
‘The Inhuman Gaze’. A presentation by The Aesthetics Group at Centre
Culturel Irlandais, Paris, June 2018. This paper is a reflection on
The Aesthetics Groups recent performance in Venice in the context of
the 57th Venice Biennale with a particular focus on The Inhuman.
https://aestheticsgroup.wordpress.com/2018/03/09/forthcoming-presentation-the-inhuman-gaze-conference-in-paris/

The Enquiry @ IMMA. An upcoming event by The Enquiry at The Irish
Museum of Modern Art in response the current ‘Coastlines’ Exhibition.
‘Coastlines’ is an exhibition representing a trajectory of Irish
Conceptual works including Brian O’ Doherty’s Aspen series. This will
take place in Autumn 2018.

‘atoz’ an exhibition of new works on paper by Jeanette Doyle hosted by
New York’s AC Institute at Platforms Projects, Athens 2018.

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