Jeanette Doyle

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.



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.

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