Kevin Kavanagh Gallery
About two weeks before this exhibition opened, I was sitting at the bedside of Éamonn O’Doherty in a Dublin cancer hospital. He had been given two months to live (though, in the end, he only got three weeks), but he faced dying in the same manner that he broached his sculpture: with impish and iconoclastic good humor, a lunchtime bottle of red wine, and a request that I do a “proper” interview with him, “proper” meaning a no-holds-barred, utterly indiscreet assassination of all those he considered morally contemptible in the world of art. We never did finish the interview. O’Doherty was an architect as well as a sculptor, so he knew the practical aspects of public art commissions. Strong democratic instincts supported his conception of public art as a space and focus for all people, not just an aesthetic statement made by the artist. …see the entire review in the print version of September’s Sculpture magazine.