Sentry (Kit Carson, Colorado) 2009

Because Gerrard’s works are constituted of simulated spaces in three dimensions, and not depicted images in two dimensions, recreating a mechanical object within the virtual requires that each visible part be generated to exact realistic specifications.  Although it would be possible to establish a view from any position in these works, the camera movement is limited to tracing a circle at walking pace around the subject, emphasizing the tradition of portraiture that undergirds this practice.  

Producer: Werner Poetzelberger
Programmers: Helmut Bressler, Matthias Strohmaier
Modeller: Daniel Fellsner
Presentation design / Corian fabrication: Jakob Illera / Inseq, Vienna

Installed at:
Directions : John Gerrard
Hirshhorn Museum + Sculpture Garden, Washington DC, USA
5 November, 2009 – 31 May, 2010
pictured with Dust Storm (Dalhart, Texas) 2007


Sentry at Ivorypress, Madrid, Spain, 2011

7 February - 2 April 2011

Ivorypress Art + Books Space I will be hosting an exhibition of John Gerrard (Dublin, 1974) from 7 February until April the second 2011.
This multidisciplinary artist's work combines new technologies with photography and poetic language, while also reflecting on political and social issues.
Among the works on display figures Cuban School (Sancti Spiritus), 2011 – comissioned by Ivorypress – a work that deals with the actual situation in Cuba out of an artistic perspective. Through hundreds of photographs of a school on the outskirts of Havana, Gerrard has constructed a 3D model and generated a software that allows the viewer to see the building from any distance and perspective. The work changes throughout the day and shows the lighting it would have in Cuba at the same moment we're seeing its image in Madrid. The condition of the building, which still functions as a school even as it falls to ruin, is a way to speak about melancholy and to envisage the effects of time on structures, whether architectonic or human. 

Pictured with Lufkin (near Hugo, Colorado), 2009

Senrtry at Hirshhorn Museum + Sculpture Garden, Washington DC, USA, 2010

5 November 2009 – 31 May 2010
Directions : John Gerrard
Solo exhibition

John Gerrard’s (Irish, b. Dublin, 1974) works hover between fact and fiction.
They present actual scenes from desolate corners of the American landscape and unfold in real time so that patient viewers can experience the progression of the day from morning to night in each setting; however, what looks like a live shot is, in fact, a manipulated, fabricated image. Gerrard photographed every site from 360 degrees and then animated the stills into seamless cinematic panning shots. Instead of the overt conflicts so prominent in video games that use this same technology, the artist relates realistic elements—a pumping oil derrick, a pig processing plant, and a vintage storm photo superimposed on a real farmscape—with elegant subtlety. Yet while these works recall the stark illumination and precision of twentieth-century realist paintings by Charles Sheeler, Charles Demuth, and Edward Hopper, their heightened effects also underscore the bleak ramifications of depleting natural resources. Gerrard’s mesmerizing replicas re-imagine landscape art and offer meditations on the impact of our habits of consumption.

pictured with Dust Storm (Dalhart, Texas), 2007

Sentry at Knoedler Project Space, NY, USA, 2009

22 January  - 21 March 2009
'John Gerrard'
Solo exhibition curated by Marella Consolini
220 cm x 196 cm x 80 cm artist - designed interactive LED interface

John Gerrard’s Knoedler Project will consist of one single work depicting a brilliant red oil derrick caught in what Gerrard describes as a particularly complex movement, stooping repetitively to the earth to draw oil to the surface.
This piece–titled Sentry (Kit Carson, Colorado) 2008 is presented on a screen, framed and mounted on a custom designed and constructed table. The title is literally the “title” of the pump, clearly visible on a large badge on the arm of the machine. Sentry (Kit Carson, Colorado) 2008 is designed to function within a temporal space identical to our own–that is to say, the scene progresses through an ongoing chronology and constantly changing play of light that runs, accurately, 24 hours a day, 365 days a year. By gently moving the frame surrounding the screen, the viewer can navigate around the landscape in a large arc. 

Sentry at Palazzo Fortuny, Venezia, Italy, 2009

6 June – 15 November 2009
Palazzo Fortuny, Venezia
Group show curated by Axel Vervoordt

Seeking to penetrate the mystery of the infinite—as philosophers, theologians, mathematicians, physicists, poets, writers, and artists have attempted to do throughout history—signifies entering the boundless and labyrinthine territories of the indeterminate, the absolute, the sum total of the incalculable, the indescribable, the immense, the cosmic, the infinitesimal, the transfinite, the extreme, the divine, Nothingness, the void.

Contribuing Artists:
lighiero Boetti, Alberto Burri, Alexander Calder, Berlinde De Bruyckere, Marlène Dumas, Fischli & Weiss, Lucio Fontana, Adam Fuss, John Gerrard, Thomas Houseago, Donald Judd, Kimsooja, Piero Manzoni, Mario Merz, Duane Michals, Louise Nevelson, Isamu Noguchi, Thomas Ruff, Diana Thater, James Turrell +  others.


Research Image for Sentry (Kit Carson, Colorado) 2009 giglee print on hahnemuehle photorag Edition of 15 + 5AP