The Irish polymath, who studied medicine at UCD, was a leading figure in the New York art scene
A restless spirit, O’Doherty left the New York Times after just three years, eager to make his own work. He was a great admirer of Marcel Duchamp, and one day he cold-called the artist to invite him to dinner. Duchamp accepted. Afterward, O’Doherty took an electrocardiogram of the artist’s heart, signed the printout and presented it as a piece of art, in homage to Duchamp’s famous ready-mades.
Another series, which he called “structural plays”, invited viewers to conduct a programme of physical movements, the order of which he derived from formulas using things like Ogham and chess notation. Brian O’Doherty in Dublin in 2008 during the ceremonial burying of an effigy of his alter ego, the pseudonymous Patrick Ireland. He had used the name for his artwork until the British military left Northern Ireland. Photograph: Derek Speirs/The New York Times
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