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Brian O’Doherty, langjähriges Pseudonym Patrick Ireland, (* 1928 im County Roscommon, Irland) ist ein irisch-amerikanischer Konzeptkünstler, Autor, Zeichner und Installationskünstler.

Sein Künstlername war eine Reaktion auf den Blutsonntag in der nordirischen Stadt Derry, bei dem mehr als ein dutzend unbewaffnete Zivilisten von der British Army getötet wurden. Er erklärte, dass er nicht in England ausstellen würde, solange die britischen Truppen nicht aus Nordirland abzögen.

Studierte Medizin in Dublin und Cambridge, emigrierte in die USA, in Harvard Studium abgeschlossen. Zeitgleich begann er auszustellen. Anschließend widmete er sich der bildenden Kunst.

Arbeitete als Interviewer für TV-Sender im Kunstbereich. Interviewte viele namhafte KünslterInnen.

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Once the wall became an esthetic force, it modified anything shown on it.

The wall "artifies" whatever is shown on it.

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How much space should a work of art have to breathe?

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How much space should a work of art have to breathe?

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The esthetics of hanging evolved according to its own habits, which become conventions, which become laws.

Artworks attempt to establish territory but not place in the context of the placeless modern gallery. In other words, the gallery is a place of warfare.

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Progress is what happens when you eliminate the opposition

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Progress is what happens when you eliminate the opposition

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To Cubism, the tough opposition in Modernism was Matisse, his rational way of speaking about color scared Cubism 'gray'.

The Abstract Expressionist paintings dropped off the frame and used the edge to enter a dialogue with the wall behind it.

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'The way pictures are hung makes assumptions about what is offered.

The interpretation of what a picture implies about its context is always delayed.

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The 19th century looked at a subject, not at its edges.

Defining these limits for the purpose of extending them is a 20th century habit.

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Exhibition Gallery at the Louvre, 1832-33, Samuel Morse

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Exhibition Gallery at the Louvre, 1832-33, Samuel Morse

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Each picture was seen as a self contained entity. Each would be allowed its own 'throne'.

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Context becomes content.

The object introduced into the gallery "frames" the gallery and its laws.

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Once art steps outside the gallery, it can reach secular status (become idolized) due to the esthetics of the gallery space.

"Things become art in a space where powerful ideas about art focus on them"

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The ideal gallery gets rid of any distraction that interfere with the fact that what it contains is art.

This indicates that no matter what is displayed in the gallery, the fact that it is in a gallery makes it art.

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We are at a point in time where we see the space first, not the art.
Modernism is framed by the space.
An image comes to mind, the 'ideal space'.

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The white cube was an attempt to bleach out the past and at the same time control the future with its transcendental principles.

By definition, they speak of another world, not this one.

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The defining of the self means the purposeful neglect of all that is other than self.

Ignoring/negating/denying anything other than what the self is.

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"What is important is the repression of individual interests in favor of the interests of the group"

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"What is important is the repression of individual interests in favor of the interests of the group"

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We adhere to set societal rules when we enter the classical modernist galleries.

The white cube promotes the idea that we are there as spiritual beings. Present in order to idolize the art.

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"The white cube suggests the eternal ratification of the claims of the caste or group sharing that sensibility"

-the "ritual space" sensors out the outer world, thus it establishes its own "reality" and promotes one truth (eternal rightness).
Whatever is placed inside the exhibition space is through it being exhibited, a standard based on its own ideals.

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"Since this is a space where access to higher metaphysical realms is made to seem available, it must be sheltered from the appearance of change and time"

-in regards to cave paintings/Egyptian tombs.

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O'Doherty draws a line connecting the modern gallery space to religious spaces where time 'stops' and gives the objects enclosed a sense of eternity and posterity.

He uses Egyptian tombs to draw as an example in that they were designed to eliminate awareness of the outside world.

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He argues that in order for the art to take on its own life, the gallery space must adhere to a set of requirements.

These set of requirements give the art pieces and their viewers an assurance of good investment.

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"Constructed along laws as rigorous as those for building a medieval church"

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"Constructed along laws as rigorous as those for building a medieval church"

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-in regards to the modern gallery space.

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What does the highly controlled context of the modernist gallery does to the art object?

What does it do to the viewing subject?

How does the context "devour" the object, becoming 'it'?

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Focusing on the relation between aesthetics on the one hand and economy and social context on the other. 
O'Doherty examines their interaction in the gallery, which is to him a space of confrontation, and discusses the role of this space in artists' work and strategies. 