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Selected recent printed projects, reviews and catalogues
For further information, copies, scans, etc please contact the studio.

[PRINTED PROJECTS]

Andrew Dodds new book I, Sparkie showing cover with budgerigar
'I, Sparkie', published and commissioned by Information as Material, 2013, supported by the Henry Moore Foundation. Perfect bound, full colour, 80pp, with audio CD.
ISBN: 9781907468179
Press Release here

 


'Deep in the Uncanny Valley' commissioned for Happy Hypocrite, issue2, Hunting and Gathering, 2008. Other contributors include Thomas Hirschhorn, Gabriel Lester, Brian Dillon, Marie Darrieussecq


'Lost in Space', commissioned by Book Works, London, 2006
ISBN: 1870699769

 


'Blood n Guts' commission for an Collections, an magazine, October 2006

 

Publication commissioned by CCA Derry-Londonderry
'A PATTERN TO MAKE THE CITY BY', commissioned by CCA Derry-Londonderry for the exhibition Contours of the Common, 2012.
Design: puredesign

 


'Arcadia Amongst the Ruins', fieldguide published as part of the project New Sites - New Fields, Leitrim Sculpture Centre, Ireland, 2008. 16pp, softback cover. Design: ValleWalkley

 

publication for Tho I Am But Small I Will Be Heard Among You All
'Tho I Am But Small I Will Be Heard Among You All', 2011, published for the bell ringing event of the same name.

 


'In the Beginning...', artist's project for Circa issue 114, Ireland's contemporary art magazine, 2005

 

 

 




Artist Andrew Dodds’s beautiful new book is a marvelous and complex case study in the culture of nature. This lush volume makes a significant contribution to the blooming field of animal studies by highlighting how animals are themselves – how animals are highly differentiated individuals.
Mark Dion on I, Sparkie


This book is a testament to Andrew Dodds’s commitment to offering a new perspective on our relationship with nature and with seemingly fleeting, yet distinctive moments in our recent history. Experiencing this project and hearing this talking bird again, reanimated, does exactly what great artworks do... It shifts our understanding of the things we think we know and creates genuine new insights.
Alessandro Vincentelli on I, Sparkie


The ensemble congeals once the camera is turned off and only then, at the moment of their disappearance, do we hear the diverse and distracted musicians and their music become one. When is an ensemble an ensemble? Is a symphony a ‘thing’? What if a piece of music is performed differently and by different musicians for centuries? Where is its essence, its identity? Frankly, where is it? It might be easier to say, ‘When is it?’ Perhaps music only lies in its score, in the instructions and commands that once inspired conceptualists like Sol LeWitt and LaMonte Young. (Here we can see a similarity with our new sense of ourselves as the product of genetic code.) But numbers and letters, paper and ink do a disservice to the special event of music that occurs in our ears even when other senses are denied to us. Dodds is right, music has much to tell the visual arts about things.
Paul O'Kane, on Alive! in 'The Thing', Art Monthly, issue 356, May 2012


Utilising some of the strategic tools developed by ‘Institutional Critique’ practices from the 1960s onward the actual focal point of the exhibition looked to be the ‘problematic’ role of the artist in promoting cultural regeneration [...] Andrew Dodds’s audio work
Adrift takes BBC Radio 4’s Shipping Forecast and removes all the words except that of “falling”. This word punctuates the long silences left through the deletion of the other elements of the original broadcast leaving a trace of collapse. Delivered in the evocative tones of Received Pronunciation, issues around class, decision-making and power are brought to mind. As such Adrift mirrors and reinforces the overall curatorial remit of Arcade itself.

'Arcade: Moments not Monuments', Craig Martin in Art & Architecture Journal, issue 66/67; indepth article on Arcade


The fallacy of reinterpreting the Galapagos's diverse ecosystem as an English landscape from the overlapping eras of Romanticism and Colonialism has inspired Dodds's commission, After the Deluge [...] searing through each of the images is the faltering haiku-like narrative of a dark and disquieting journey. These broken texts haunt our vicarious sightseeing with echoes of Joseph Conrad's Heart of Darkness (1902) and Patrick Keiller's Robinson in Space (1997) each of which complicate the inscription of identity onto an unsympathetic landscape.
Robert Blackson, essay in North + South exhibition catalogue


Greeting us at the event is a choir of little girls eerily singing All Things Bright and Beautiful, in a disembodied sound piece by Andrew Dodds that seems to haunt you wherever you are in the room. The caption informs us that Britain’s first creationist academy has opened in Gateshead. But Dodds is surely not trying to placate the local flat-earthers with this tribute to God’s creatures great and small. Neither is he deliberately seeking to annoy them. Instead, the ethereal voices of the singing kids have a persuasive sweetness to them that successfully fills the show with doubts.

Waldemar Januszczak, review of 'A Duck for Mr Darwin', The Sunday Times,
Culture, 26 April 2009


The most successful works tended both to stick close to the site itself and at the same time conjure an invisible elsewhere. While it was easy, as a visitor, to get the sense that this land was somehow moribund without artistic resuscitation, Andrew Dodds’ s Alive!, a notional soundtrack to a horror film, [composed and] performed by local teenagers, reminded us that these edge-lands are also somebody’s backyard, childhood playground and adolescent refuge.
Brian Dillon, Wire, review of Grain


The dream that kicks: transdisciplinary practice in action is a curious collection of works which at once demonstrates and queries its subject. Here, the form is considered in tandem with the content [...] Andrew Dodds's Blood 'n' Guts, is perhaps the most self-reflexive piece. It can be read either as a whole, or as separate works in their own rights; thereby creating a system of works, with multiple entry and exit points, and as such provides an essentially transdisciplinary reflection on the main concerns of this collection as a whole.

The Dream that Kicks.., Maria Fusco from the Afterword

 

 
  [MAGAZINES]

Art Monthly with article on Andrew Dodds's exhibition Among Other Things
'Among Other Things', Camberwell Space, January 2012, featured in Paul O'Kane's lead article, The Thing, Art Monthly, May 2012

 

End Times review, VAN issue 6
Review of End Times in VAN Nov-Dec 2010 issue as part of the exhibition Fields of Vision, Leitrim Sculpture Centre

 

Cover, Circa art magazine issue 130
Review of 'Wunderkammer', Airfield Trust, Dublin. Circa issue 130, Winter 2009/10



'GRAIN' reviewed inThe Wire, November 2007

 

Fakes and Forgeries, V&A, London review
Andrew Dodds' review of 'Fakes and Forgeries', V&A, London; Frieze, May 2010



Art and Architecture journal review of Arcade
In-depth article on 'Arcade', Art & Architecture Journal, issue 66/67, autumn 2008

 


Andrew Dodds' review of 'Ape Artists of the 1950s' at The Mayor Gallery, London. for Frieze issue 99, May 2006

 

 

 
  [CATALOGUES]
 

baltic centre exhibition catalogue
A Duck for Mr Darwin, BALTIC Centre for Contemporary Art, 2009. Artists include Mark Dion, Charles Avery, Tania Kovats and Conrad Shawcross. Exhibition curated by Alessandro Vincentelli as part of Darwin 200 celebrations.
Catalogue available from Cornerhouse, Manchester



'A Haunting', The Statuary Hall, University of Manchester, 2005. Includes poster, booklet and essays by Stephanie Boydell, Pam Shaw, Neil Wilkie and Theresa Wilkie

  north and south exhibition catalogue
'North & South', Vardy Gallery, University of Sunderland, 2007. Includes essays by Robert Blackson, Billy Bragg, Ros Carter, Tim Craven, Peter Davidson and others. Available in hard and soft cover from Cornerhouse, Manchester