Jan 18–Aug 3, 2008

Trisha Donnelly


Using sculpture, drawing, photographs, text, sound, video, and painting, Trisha Donnelly has composed this installation, her first solo museum exhibition in the United States, using works made between 1998 and 2007. In a breathtakingly spare gallery, 24 works of art are closely hung on a horizontal line. The works on display, which also include one sculpture and three different sound works, propose a reconfiguration of the past constructed from a rigorous, distinctly personal selection.

Trisha Donnelly’s ineffable body of work resists simple characterization. A lexicon of imagery and action relies on the power of suggestion: what precise, economical gesture can evoke a moment, a place, a feeling? How does sound create form? With a word, can the artist embed herself in our consciousness? These potent gestures are catalysts, and this is the crux of Donnelly’s work. What unite her media-diverse work are gestures of altered time, shifters, dimensional explorations, evocation, perception, and belief structures.

Time, literally and metaphorically, is a signature of Donnelly’s work: a drawing may request slowness, a sound piece may stretch a phrase interminably, a video presents an action in slow motion, a photograph freezes a turn of the torso. This pause generates shifts, fractures, and collapses in time, both in the present and in time’s historical reverberations. This exhibition, too, requests time.
Donnelly 1

Donnelly 1

Donnelly 2

Donnelly 2
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Books & Editions

The Creative Publishing bundle celebrates the creative freedom of ICA curators and the designers they work with, and includes a selection of our most unique catalogues. First Among Equals (2012), curated by Kate Kraczon and Alex Klein and designed by Mark Owens and Other Means, has a spiral binding that allows any page spread to become the cover. Trisha Donnelly (2008), curated by Jenelle Porter and designed by Purtill Family Business, is an accordion book that opens into a single, long spread reminiscent of the installation of the exhibition. The Happy Show (2012), curated by Claudia Gould and designed by Purtill Family Business with Sara Hartman, is our smallest publication and measures only 2 3/4″ x 4″ x 3/4″. Finally Richard Tuttle: In Parts 1998-2001 (2001), curated by Ingrid Shaffner and designed by Purtill Family Business, is a catalogue designed to be torn apart: each of the 13 folios opens into a small poster.

This bundle retails for $110.00, and is available for a limited time for the discounted price of $75.00

Publication Date

This fuly illustrated catalogue documents Donnelly’s installation, her first U.S. solo museum exhibition, and includes an essay by Associate Curator Jenelle Porter

ISBN 9780884541141
Publication Date
Institute of Contemporary Art, University of Pennsylvania, Philadelphia
"We gratefully acknowledge generous support of the American Center Foundation, the Harpo Foundation and ICA’s Leadership Circle: Jill & Sheldon Bonovitz, Robert Kirkpatrick & John Wind, Meredith & Bryan Verona, Elizabeth A. Asplundh, Floss Barber, Inc., Ellen & Stephen Burbank, Cecile & Christopher J. D’Amelio, Mary & Anthony B. Creamer, III, Barbara & David Farley, Glenn R. Fuhrman, Fury Design, Inc., Suzanne & Jeffrey Koopman, Gabriele W. Lee, Margery P. Lee, The Marketing Audit, Inc., Paul H. Pincus, Leah Popowich & Andrew Hohns, Marguerite Rodgers, Ltd., Alec Rubin & Phillip Chambers, Cindy L. Shaffran & Gary Schwartz, Laura Steinberg Tisch Foundation, Inc., Karen & Howard Weiner, Francis H. Williams and the Wind Foundation.rnrnAdditional funding has been provided by The Horace W. Goldsmith Foundation, the Commonwealth of Pennsylvania Council on the Arts, The Dietrich Foundation, Inc., the Overseers Board for the Institute of Contemporary Art, friends and members of ICA, and the University of Pennsylvania."