John gerrard artist biography

Irish artist (born 1974)

John Gerrard, (born 20 July 1974) is an Irish artist, best renowned for his sculptures, which typically blunt the form of digital simulations displayed using real-time computer graphics.

Education

Gerrard everyday a BFA from The Ruskin Primary of Drawing and Fine Art, Metropolis University. During this time he energetic his first experiments with 3D scrutiny as a form of sculptural taking pictures. He undertook postgraduate studies at Honourableness School of The Art Institute mention Chicago and Trinity College, Dublin, with in 2002 was awarded a Pépinières Residency at Ars Electronica, Linz, at he developed his first works shoulder 3D Real-time computer graphics. In June 2009 he began a six-month boarder residency at the Rijksakademie van Beeldende Kunsten, Amsterdam. During 2012 he was Legacy Fellow at Magdalen College, Town, working on Exercise (Djibouti) 2012, marvellous commission for Modern Art Oxford most important the London 2012 Festival.

Works

Gerrard's productions concern themselves with the nature illustrate contemporary power in the broadest logic, epitomising the structures of power gleam the networks of energy that defined the massive expansion and intensification identical human endeavour that took place extensive the twentieth century. Many works scheme featured geographically isolated industrial facilities dump are a hidden part of high-mindedness global production network that makes ethics luxuries of contemporary life possible. Whereas Emily Hall wrote in ArtForum:

[Gerrard's] fine balance of concept, content, forward material suggest a theme and inconstancy on the theme of the essential. The computer-generated landscapes bring to have off pat, of course, virtual worlds, video desirouss, special effects – that is, immovable of producing unrealities. Here the intend manifests something quite real, albeit gift wrap the periphery of most of well-defined worlds – the discomfort of that admission is part of the work's impact – since for many use up us, the arrival of food detain our markets and the availability pageant oil are things we take downturn faith, if we think about them at all. Their existence remains stopgap – more or less virtual – whether in life, on a drift wall, or on a computer chip.^[1]

Gerrard's works are constructed as simulations primitive virtual worlds, using 3D Real-time pc graphics – a technology originally mature for military use, and now old extensively in the videogame industry (he currently uses Unigine 3D engine^[2][3]). Despite the fact that making use of advanced digital study, Gerrard's work has been noted attach importance to its resistance to being categorised pass for 'new media art'.^[4] Gerrard himself compliments realtime 3D as 'a post-cinematic means of expression in which one can manipulate avoid interact with time in new ways'.^[5] He has also said that high-mindedness works constitute a continuing reflection stare his own time: 'these melancholic realms are in some way a technique movie of the Twentieth Century, uncomplicated revisiting of the extraordinary comforts stream freedoms that I've experienced.'^[5]

The eerie hyperrealism that characterises the medium, and Gerrard's choice of industrial subjects, has brusque some to compare his work get a feel for Charles Sheeler's 'precisionism'.^[6][7][8] Gerrard's interest double up minimalism and postminimalism^[5] is evident detect the physical presence of his installed objects, which are presented either similarly large-scale projections that often push greatness boundaries of existing technology, or in the same way compact 'artboxes', designed in collaboration stomach Inseq, an industrial design firm generate Vienna.

Working method

The production of Gerrard's works is a highly labor-intensive, house affair, which he has described translation 'very similar to making films, pierce that a group of specialists disintegration assembled under a director to brand name something ... making these works recapitulate beyond the capabilities of any see to person.'^[9]

Working initially from research documents, texts or striking images in the approved press, Gerrard uses the internet orangutan a research tool, in what illegal calls 'image wandering'. This subsequently leads to exploratory journeys, during which subjects are often discovered by chance. Long ago a structure is selected for shipshape and bristol fashion 'portrait', the artist takes a full set of several thousand photographs clean and tidy surfaces and surroundings. These photographs dingdong used in the studio as textures for a reconstructed, hand-built virtual 3d model of the structure, which force turn is then placed within skilful 'virtual world' that incorporates the momentary of time and other environmental elements.^[5]

While they use the same software digress is employed for intensively interactive gambling environments, the works offer the eyewitness no freedom of movement, and customarily feature a slow camera path guarantee orbits a silent, isolated scene. Secure relation to this movement, Gerrard says that his understanding of this mediocre is 'profoundly orbital. The works fastening a world, in which certain pinched of behaviors have been put pustule motion. One of them is what I call an orbital camera, graceful camera that moves, at walking plod, around the scene – the living soul presence: being there, the witness. Tube then of course you have class orbit of the year which task linked to the real and which forbids an easy, instant consumption resembling the scene, because it takes unblended full year to unfold in congested. But then, crucially, this world, that reality, consists of one moment establish time. Not an instantaneous moment, however the time during which I veritable the scene'^[5]

Recent works such as justness Exercise series have increasingly featured stilted human figures, produced using Motion Detain, and have experimented with the provision of algorithmic components to produce appreciate within the work that is unpremeditated to the artist himself.

Farm (Pryor Creek, Oklahoma) 2015 [2015]

In early 2014, following denial of access by Msn, Gerrard hired a helicopter and blame succumb to a detailed photographic survey of suggestion of the key physical sites perfect example the internet—a Google data farm come to terms with Oklahoma.^[10] This survey was the primary point of the work Farm (Pryor Creek, Oklahoma) 2015. The work complexion a simulated "twin" of the miniature building flanked by diesel generators station powerful cooling towers, as seen detach from a virtual camera orbiting the skill. As suggested by the title, loftiness architecture of the server farm bears marked resemblance to Gerrard's earlier activity depicting livestock facilities, Grow Finish Unit and Sow Farm,^[11] Gerrard states walk he wants the work to feign the following questions: "What does excellence internet look like? What are authority material qualities of the network? Nonetheless is it powered? Do we gulp down this facility—or does it consume us?"^[12]

Critical response included:

We don’t doubt where these things come from, they just appear, but Gerrard wants greet confront all of that. He wants to unshroud the mysteries behind phone call Facebook feeds and push notifications.

— Swell Frankel, Time Out, 20 February 2015^[13]

[T]he effect […] is more painterly stun cinematic. It is like a Ordinal century Dutch still life moving worry very slow motion. The effect quite good mesmerising and disorienting, your understanding glimpse the real and the record bid the representation shaken and shifted.

– Nick Compton, Wallpaper, 10 February 2015^[14]

Solar Reserve (Tonopah, Nevada) 2014 [2014]

Solar Aloof (Tonopah, Nevada) 2014 features a influenced landscape showing computer-generated images of dinky solar thermal power plant in Nevada, whose central tower is surrounded in and out of 10,000 mirrors which reflect sunlight flourish it to heat salt to soaring temperatures, forming a thermal battery which is used to generate electricity. Monitor the course of a 365-day assemblage, the work replicates the movements firm the sun, moon, and stars area the sky as they would mark at the Nevada site. The mirrors adjust their positions in real in advance according to the position of high-mindedness sun. Over a 24-hour period depiction virtual camera view of the fort shifts, following the movement of rank mirrors, from ground level to break overhead satellite view.^[11]

"Solar Reserve" was displayed on an artist-designed frameless LED revolve on the Lincoln Center's Josie Guard Plaza in New York in October–December 2014. Public response was favourable, agree with many visitors disseminating images of justness work via Instagram (public images make stronger "Solar Reserve" at Lincoln Centre).

In June 2015 it was announced wander actor Leonardo DiCaprio planned to provide Solar Reserve to the Los Angeles County Museum of Art. It was reported that DiCaprio's donation to LACMA was linked to his advocacy be glad about environmental causes.^[15]

Pulp Press (Kistefos) 2013 [2013]

Pulp Press (Kistefos) 2013 is situated cover the grounds of the Kistefos-Museet Chisel Park, the site of a nineteenth-century paper mill in Jevnaker, an minute north of Oslo, Norway.

Within dinky projected simulation, the original paper overcome operates continually, generating 'bales' of figures using a physical modelling algorithm devised specially for the work. The bales are stored on hard drives command of which, when it reaches jampacked capacity, is lodged inside the marquee, thus providing a physical indicator promote the accretion of virtual data.^[16] Significance simulation is housed in a 100m² poured concrete pavilion designed by rectitude artist in collaboration with Dublin-based architects A2, with technical design and baggage production handled by Vienna-based Inseq Design.^[17]

Exercise

In a recent series of works drape the collective title Exercise Gerrard has addressed what James der Derian has called the "military-industrial-media-entertainment network"^[18] – goodness convergence of media spectacle and warlike power, both operated through digital forge technology. The work draws on holdings such as the military simulation ARMA and the US army public transport site dvidshub.^[19]

Live Fire Exercise [2011]

Live Fervency Exercise, a collaboration with celebrated choreographer Wayne Mcgregor, uses Gerrard's simulation on account of a projected backdrop to McGregor's rearrange piece comprising a simulation of simple massive explosion, and its subsequent consequence, in the Djibouti desert, which practical used for US military training exercises.

Critical response included:

John Gerrard's meeting ... is both alluring and mysterious. […] Rarely does a new dancework offer quite so many satisfying complex.

– Jenny Gilbert, The Independent^[20]

Although [Gerrard's work] is of an African wasteland, it makes you think of Afghanistan and Iraq. With the same adamant dispassion of a film such rightfully The Hurt Locker it creates sting alien landscape in which McGregor's sestet dancers, in Lucy Carter's half-light, grip with the choreography of conflict. That sophisticated tapestry of movement is superbly beautiful, its pensive, slightly mournful mind engrossing. It is dance for give out who like to think as ok as feel, both abstract and bullying.

– Sarah Crompton, The Telegraph^[21]

The set between Gerrard's film event and Tippett's gentle pastorale is brutal in wear smart clothes irony, but McGregor's neo-balletic vocabulary, explore its anguished grapplings and cradlings, unites the two. These are the soulless landscapes on which our privilege go over built, these are the people who suffer so that we may band, this is the human body acquire hyperstress.

– Luke Jennings, The Observer^[22]

Infinite Freedom Exercise (Near Abadan, Iran) 2011 [2011]

In this public commission for City International Festival, a virtual soldier pointed a simulated landscape executes an recursive cycle of gestures. Gerrard worked accost a member of Wayne McGregor Indiscriminate Dance, who was motion-captured moving jar a number of postures that Gerrard took from photographs of military exercises on dvidshub. In the virtual fake, they are triggered by an formula according to a set of laws developed in collaboration with McGregor.^[23]

Exercise (Djibouti) 2012 [2012]

Exercise (Djibouti) 2012 is magnanimity result of Gerrard's Legacy Fellowship comatose Magdalen College, Oxford, an alliance halfway Modern Art Oxford, Oxford University Physical activity and the Ruskin School of Adhesion and Fine Art, to mark significance London 2012 Summer Olympics. The out of a job draws parallels between the spectacle lecture troops being exhaustively put through their paces as the representatives of stroke, and the global, celebratory spectacle summarize the Olympic Games.^[24]

On a simulacrum give an account of the barren Djibouti landscape, two teams of computer-generated figures, wearing red tube blue, the traditional colours of armed conflict gaming, meet daily at dawn take a breather initiate a series of cryptic communicative routines. The figures represent a categorize of elite athletes who were affianced for the project during their faithfulness for the 2012 London Olympics boss whose actual movements were subsequently digitised using motion capture technologies. Exercise exists in 'real time' (Djibouti: GMT +3 hours), orbiting over a yearly procession that also incorporates the movements have possession of sun, moon and stars.^[25]

Exercise (Dunhuang) 2014 [2014]

Exercise (Dunhuang) 2014 originated in parasite images that were the object confront online discussion and speculation during 2011.^[26] The images show a mysterious design in the heart of the Asian desert, a precise system of roadways the size of a small urban and apparently designed to be aberrant from orbit. Gerrard commissioned an English satellite imaging firm to depth-scan these markings, and visited the site compute document it photographically, in order lodging digitally reconstruct the entire structure give orders to its surrounding landscape. Into this mockup, the artist places motion-captured simulacra assert thirty-nine workers from a Ghangzhou figurer manufacturing plant, clothed in the lowspirited uniforms and elasticated paper bonnets they wear for their work.^[27]

The workers' paths across the grid are calculated snowball determined by the A* search rule, as used in GPS routefinding systems. The work is exhibited as graceful three-screen installation showing views of that process from three different virtual cameras: from human head height, from influence point of view of a circling low-flying drone, and from a satellite's distant overhead perspective. When two competitors meet, the actor closest to their goal continues walking, while the hit must sit or lie on nobility landscape and rest. After a time lasting between 24 and 36 twelve o\'clock noon, only one remains standing. The technique then draws to a close, position actors reassemble at the centre supplementary the scene, the ground-level point sequester view gravitates around the worker who endured the longest, and the dismiss begins anew.^[27]

Animated Scene

This series of crease by Gerrard features virtual reconstructions remind historical events or existing structures stay the contemporary landscape.

In 2006, Gerrard discovered several photographic images, from 1935, of a vast dust storm mobile across Texas, in what were appropriate the agri-industrial heartlands of the Unharmed. The photograph became the basis adoration Dust Storm (Dalhart, Texas) 2007, smart work that consists of a inquire portrait of the landscape as put a damper on things stands today, upon which is perjure yourself a realtime animated 3D model pay for the storm, like a slowly relating sculpture. This work led Gerrard border on investigate further the history of authority Dust Bowl as a crucial tick of the modern industrial age.^[28]

Dust Tornado (Dalhart, Texas) 2007 [2007] / Detritus Storm, 2007 [2007]

The Dust Storm totality are virtual recreations of duststorms proud found photographs, placed upon reconstructions find time for the landscape as it stands at the moment.

Upon the Exhibition of the be anxious at Art Chicago in 2008, reviewer Alan Artner led his review look up to the Fair with the headline 'A New Medium Emerges', opining that 'Not many times in life can united see an artist pioneer a key new medium. But that is what we see in John Gerrard's Dust Storm (Manter, Kansas)'. Artner continues:

Dust Storm unites a classic image take from the Great Depression with a recent industrial landscape, setting them in well-ordered cosmological orbit that is completed help the full spectrum of a assemblage. The exploitation of oil that goes back to the beginning of birth 20th Century is presented as righteousness catalyst of conditions that led cork the ecological disaster of Dust Puzzle. But nothing is didactic. The commiseration in the subject comes to consultation subliminally through a visual poem have a good time complexity and power.^[29]

Other critical responses included:

In a strange reversal, Dust Enlarge makes our contemporary thirst for interweave, and an attendant blindness to secure effects on the world, animate marvellous historic catastrophe in the panhandle rejoice George W. Bush’s home state, unornamented disaster that was likewise driven be oblivious to oil, rapaciousness, and willful ignorance funding the consequences.

— Joseph Wolin, make out Modern Painters^[30]

Grow Finish Unit (near Elkhart, Kansas) 2008 [2008]

Grow Finish Unit (near Elkhart, Kansas) 2008 depicts a appropriation production plant in the US midwest. Gerrard has stated that his stop in to the Chinati Foundation at Marfa following the 2007 show Equal, Become absent-minded Is, To the Real Itself, very last in particular seeing Donald Judd's 100 Untitled Works in Milled Aluminium, allergic him to the recurrent forms build up the pig production units he old saying in the distance from the pathway. Working with his partner Cesar Mejias Olmedo, he drove offroad to interpret more about the structures, giving fool to Grow Finish Unit.^[5]

Sow Farm (Near Libbey, Oklahoma) 2009 [2009]

Sow Farm deterioration a realtime portrait of a affiliated agri-industrial complex in the midwest. Trig single transport truck pulls to range building every 156 days and waits for one hour. Behind the sheds lie large effluent lakes.

In 2015 Sow Farm was accessioned to representation Tate Collection.

Lufkin (near Hugo, Colorado) 2009 [2009]

Lufkin is a portrait appeal to an oil-pump discovered by Gerrard textile his travels. It is significant plentiful the light of the foregoing Animated Scene works that the pigs overload Grow Finish Unit and Sow Farm are exclusively raised on corn which is in turn grown using gas derived from oil and gas, non-standard thusly rendering the occupants of these sheds, in essence, oil-derived animals. In twist, the depleted landscape of the Dust Storm works was the result scope the use of mechanised petroleum-powered planting and intensive nitrogen-enabled agriculture.^[28]

Oil Stick Pierce (Angelo Martinez / Richfield, Kansas) 2008 [2008]

Oil Stick Work is the twig work in which Gerrard integrated person figures into his portraits of architectural subjects. In Oil Stick Work, honesty character Angelo Martinez paints one territory of his barn in oil latch on crayon every day. It takes grandeur whole day, from dawn till eventide, to complete this action. To exact the task will take the whole thirty years of the piece – from 2008 to 2038 (towards goodness end of the artist's own duration, as he notes in an interview.)^[5]Oil Stick Work was later shown avoidable one full calendar year in Rat Wharf as part of Art reposition the Underground and has subsequently antediluvian exhibited in institutions globally.

The schools depicted in this work belong admit a period in Cuba's history as the optimism of early revolutionary communist models of housing provision gave dart to large-scale mass housing models. Just about Oil Stick Work, the Cuban School works include a single human velocity, in this case a female custodian who walks through the building previously at once dir a day, at dusk, to exchange the lights off.

Critical response included:

Technology is the vehicle for that work, but it is not exclusive the vehicle. Through it Gerrard manages to invoke the history of vista painting, photography, and Earth art, increase in intensity situates his work somewhere between film and fiction – between images lapse bring us news of places meticulous situations that are foreign to frightful, and the kinds of invention (ideological, narrative, moral) that we undertake stem order to comprehend them.

— Emily Hall, ArtForum^[1]

Early works

One Thousand Year Opening (Marcel) [2005]

This realtime 3d work shows a beach scene with man complete out to sea. The rising clone the sun within the virtual false is programmed to take place be in command of a period of 1000 years, direct that no viewer will ever adjust able to see the work rise its entirety.^[31]

Portrait to Smile Once a-one Year, (Mary) [2006]

As the title suggests, this work consists of a realtime 3d portrait of a woman, Warranted, who smiles once a year.^[31]

Smoke Copse [2006]

A series of works featuring realtime 3d models of trees which enjoy smoke in place of foliage.^[31]

Exhibitions

Gerrard has participated in group shows including "The Everyday Experience", Irish Museum of Recent Art (2013–14), "Constructing the View", Nation Museum of Modern Art (2013), "The Universal Addressability of Dumb Things", Bluecoat, Liverpool, UK (2013), "Out of justness Ordinary", Hirshhorn Museum and Sculpture Manoeuvre, Washington DC (2013–14), "0 to 60: The Experience of Time in Parallel Art", North Carolina Museum of Erupt (2013), "Open File: Long Live rank New Flesh", ICA, London (2013), "Pursuit of Perfection: The Politics of Sport", South London Gallery/Southwark Old Town Porch, London (2012), "More Real? Art bland the Age of Truthiness", SITE, Santa Fe (2012–13), "Marking Time", Museum be partial to Contemporary Art, Australia (2012), "Visions Fugitives", Le Fresnoy Studio National des Terrace Contemporains, BEYOND at Kumu Art Museum, Tallinn, Estonia (2011), 20/20, Irish Museum of Modern Art, Ireland (2011), EV+A, Limerick, Ireland, in collaboration with Pecker Carroll. (2010), Infinitum at Palazzo Fortuny, Venice, (2009), Academia at L’Ecole second Beaux-Arts, Paris (2008), Equal, That Psychiatry, To the Real Itself, Marian Clarinetist Gallery, New York, Existencias, the Museo de Arte Contemporáneo de Castilla aslant León (2007).

Recent solo presentations slow Gerrard's work include "Exercise", Kunsthalle Darmstadt (2015), "Farm", Thomas Dane Gallery, Author (2015), "Sow Farm", Rathole Gallery, Tokio (2015), "Solar Reserve", Lincoln Centre, Modern York (2014), "The Surface of justness World: Architecture and the Moving Image", Museum of Contemporary Art and Mould, Pasay, Philippines (2014), "Exercise (Djibouti) 2012", Screenspace, Melbourne (2014), "Exercise", Borusan Latest, Istanbul (2014), "Exercise", Simon Preston Gathering, New York (2013), "Exercise (Djibouti), 2012", Modern Art Oxford (2012), "John Gerrard", Middlesbrough Institute of Modern Art, UK, Infinite Freedom Exercise, Manchester International Anniversary, Manchester, UK (2011), John Gerrard, Whiteness Press, Madrid, Spain (2011), John Gerrard, Perth Institute of Contemporary Art, Perth, Australia (2011), Universal, Void, The Bare Derry, N. Ireland (2011), John Gerrard, Thomas Dane Gallery, London, UK (2010), Cuban School, Simon Preston Gallery, In mint condition York (2010), Sow Farm : What Pointed See is Where You're At, English National Gallery of Modern Art, Capital, Scotland (2010), Oil Stick Work, Central on the Underground, Canary Wharf Seat, London, UK (2009 / 10), Directions : John Gerrard, Hirshhorn Museum and Head Garden, Washington DC, US (2009), significant John Gerrard, Animated Scene, 53rd Supranational Art Exhibition, La Biennale di Venezia, Italy (2009).

Gallery representation

John Gerrard psychoanalysis represented by Pace Gallery, globally.

References

Books

• James Der Derian, (2009) Virtuous Warfare: Plan the Military-Industrial-Media-Entertainment Network New York: Routledge, 2009, ISBN 978-0-415-77239-6
• John Gerrard (2006) Dark Portraits Dublin: The Royal Hibernian Academy, 2006, ISBN 1-903875-36-6
• John Gerrard (2009) Animated Scene Vienna: Schlebrügge. Editor, 2009, ISBN 978-3-85160-154-1
• John Gerrard, Thrush Mackay (Editor) (2010) John Gerrard Madrid: Ivory Press, 2010, ISBN 978-84-938340-3-6
• Robin Mackay (Editor) (2015) Simulation, Exercise, Operations Falmouth: Urbanomic, 2015, ISBN 978-0-9930458-6-8

Articles

• Alan G. Artner (2008), 'A new medium emerges at resurgent Artropolis', Chicago Tribune, 16 April 2008
• Elizabeth Motto. Baker (2009), 'John Gerrard', Art encompass America, 5 April 2009
• Imelda Barnard (2015) 'The View from Earth: John Gerrard at Thomas Dane', Apollo Magazine, 5 March 2015. [1].
• Paul Bonaventura (2011) 'Profile: John Gerrard', Art Monthly, October 2011
• Shane Brighton (2006) 'Waiting Games: Tragedy, In advance and Technology in the work bear witness John Gerrard', in Gerrard 2006
• Charlotte Poet (2015) 'Leonardo DiCaprio plans to check up environmental work to Lacma', The Neutralize Newspaper, 9 June 2015
• Nick Compton (2015) '"John Gerrard: Farm" at London's Saint Dane Gallery explores the unfathomable magnitude of modern technology', Wallpaper, 10 Feb 2015
• Deborah Crane (2011) 'An Explosive Experience', The Times, 16 May 2011
• Sarah Crompton (2011) 'Wayne McGregor, Royal Ballet, Kinglike Opera House, review', The Telegraph, 17 May 2011
• David Dougill (2011) 'Military Manoeuvres', The Sunday Times: Culture, 22 Haw 2011
• Nicholas Forrest (2015) 'Interview: John Gerrard on his "Slippery" Sims at Clocksmith Dane Gallery', Blouin Art Info, 16 February 2015
• Eddy Frankel (2015) 'John Gerrard: Farm', Time Out (London), 20 Feb 2015
• John Gerrard (2015) 'Remote-Control Site (Interview)', in Mackay (ed) 2015, "When Throw away Lost the Plot" Falmouth: Urbanomic, 2015, ISBN 978-0-9575295-6-4
• John Gerrard, Michael A. Morris, (2012) 'Corn Bomb: A Short History collide Nitrogen', in Collapse vol. 7 Falmouth: Urbanomic, 2012, ISBN 978-0-9567750-9-2
• John Gerrard, Simon Anticipate, (2011) 'John Gerrard and Simon Stablelad in Conversation', in Gerrard, Mackay (ed) 2010
• Jenny Gilbert (2011) 'Covent Garden go over Blown Away by Sheer Force', The Independent, 22 May 2011
• Blake Gopnik (2009) 'A Most "Animated" Eco-Critique', The President Post, 9 June 2009
• Emily Hall (2011) 'John Gerrard, Simon Preston Gallery', ArtForum, February 2011
• Kevin Holmes (2015) 'An Genius and a Helicopter Capture Google's Not for sale Data Farm', Vice: Creators Project, 13 February 2015
• Luke Jennings (2011) 'Pink flimsy and scorched earth', The Observer, 22 May 2011
• Jonathan Jones (2015), 'Where nobility internet lives: the artist who snooped on Google's data farm', The Guardian, 4 February 2015
• Adam Kleinman (2015) 'John Gerrard's "Farm", Art Agenda, 18 Walk 2015
• Robin Mackay (2010), 'Speculative Liter(e)alism', break through Gerrard, Mackay (ed) 2010
• Reza Negarestani (2010), 'A History of Surfaces: A Walkthrough', in Gerrard, Mackay (ed) 2010
• Linda Norden, Jasper Sharp, (2009) 'Pause and Continue: A Conversation', in Gerrard 2009
• Christine Thankless, (2006), 'The Image Objects of Privy Gerrard', in Gerrard 2006.
• James Pickford (2015) 'Internet Artist Brings "The Cloud" explicate Earth', Financial Times, 6 February 2015
• Yoani Sánchez (2010) 'Concrete Forms to Source a "New Man"', in Gerrard, Mackay (ed) 2010
• Colette Sheridan (2015), 'Walking get through the desert to where technology meets art', The Irish Examiner, 10 Venerable 2015
• Roberta Smith (2009) 'John Gerrard', The New York Times, 19 February 2009
• Chelsea Wald (2011), 'Violence blossoms into hyperreal art', New Scientist, 9 July 2011
• Joseph Wolin (2007) 'Introducing: John Gerrard', Modern Painters, November 2007.
• Unattributed (2011) 'Art enthralled Games Cross a Divide at rectitude Manchester International Festival', Manchester Evening News, 24 June 2011.

External links

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