Artist Biography

Doreen McCarthy is a sculptor based in New York City whose work has been exhibited in the United States, Europe, China and Japan since 1985.   Throughout her career she has received grants, awards and residencies as, Edward Albee Foundation to Santa Fe Art Institute and Gropiusstadt in Berlin. She has had numerous solo projects including Heskin Contemporary, NY; Galerie Junger, Shanghai, China; Indiana University Institute of Art and Design and the foyer of a Philip Johnson building in Berlin, Germany to name a few.

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Artist Statement

My work is a consequential step of giving form to space and imagination. The sculptures are about how to change something in a way that keeps the before, after and intervening transformation equally visible The transformative abilities of art-condensation of materials, context, community and intent-are the core of my art making practice.   Perceptions of art can be considered and understood within the milieu of one’s environment and as a paradigm of culture.   Specific site projects inform the development of my new sculptures as the history of each place provides context for the image, scale and material within the public or private domain.   My production often appears to present aesthetic oxymorons that occupy both sides of formal and conceptual oppositions such as material versus effect.   I am currently developing sculptures that continue to circumvent barriers of spatial articulation.
I have worked with non-traditional materials employing corrugated cardboard, inflated plastic, nylon and Plexiglas both in the studio and with the aid of industrial fabricators.   I explore scale, building and modeling of objects, translucency and the absence and presence of objecthood.   Physically shifting the scale, material and site alters the subjectivity of experience.   My current work is intended to further incorporate this dialogue and apply it to a larger, public space designed to change the way we are informed by and see the world we live in, questioning the notions of perception and how the conversation between timelessness and static objecthood may be renegotiated.



September 7, 2016 - September 25, 2016


2015    Two Coats of Paint “Revitilization by contamination: OBJECT’hood at Lesly Heller, by

Jonathan Stevenson & Sharon Butler, August 2, 2015

2015    ARTEFUSE OBJECT’hood at Lesley Heller, by Madeline Mermall

2015    fibonaccisusan , Mathematical Art, “Topologist’s Pool Toy” by Susan Happersett

2015  ARTEFUSE, De Colores – a Group Show at the Buggy Factory (for BOS), Curated by

Enrico Gomez, exhibition review, by Daniel Gauss

2013    Hyperallergic ”Colorful Life Returns to Jersey City”, exhibition review of a≠a at Panepinto

Gallery, Jersey City by Brendan S. Carroll, November 11, 2013

2013    The Republic, “interest rises locally in inflatable art”, exhibition review of Air Clad, ICAD, U of

Indiana, p 1

2012    American Art Collectors, “Media is the Medium” exhibition review I am the judge, I am the jury,

by James Balestrieri

2011 in New York: Plastics, by John Haber, exhibition review of Heskin


2009    FlashArt, “Next Post-18 solo shows under one roof”, exhibition review of Raven

Contemporary by Tate Osten, May 2009

2009    NY Times, exhibition review by Benjamin Genocchio, March 5, 2009

2009    Newark USA, exhibition review by L. Craig Schoonmaker, March 8 & March 22, 2009

2008    Interview by Ana-Maria Figueredo,, December 5, 2008,

Aqua Art Fair, Miami

2008    Queens Chronicle, “Drawing Them In” exhibition review by Michele Wilson, January 4, 2008

2006    Frankfurter Allgemeine, “Explosive Pusteblume: Rundgang durch Frankfurter Galerien”,

exhibition review by Swantje Karich, July 18, 2006

2006    Atlanticville, “Artists Curating Artists”, exhibition review, April 26, 2006, p. 27

2005    Sylter Rundschau, “Skulteren-Austellung im Kunstbad”, exhibition review, July 22, p. 17

2005    Sylter Spiegel “Circulation und Findlinge”, exhibition review, July 20 p. 18

2005    Scotch Plains_Fanwood Times, “Larger Than Life: Seeing is Believing”, exhibition review by

Marianne Morano, November 3, 2005

2005    The Star Ledger, “Art Aloft”, exhibition review by Dan Bischoff, September 29, 2005

2005    Suburban News, “Collective Intelligence” exhibition review, September 28, 2005

2005    Westfield Leader, “Collective Intelligence”, exhibition review, September 22, 2005

2005    Courier News, “Dreaming Together”, exhibition review by Ralph Bellantoni, September 22,


2005    The Star Ledger “Art Aloft” exhibition review of “Collective Intelligence”

2003    World of Art, June “Not Pop Art” by Rory Donaldson, exhibition review

2003    BERLINER KUNST International Edition, NY Arts June, July August, vol 2 #6-8, exhibition

review by Christopher Chambers, p. 54

2003    NY ARTS MAGAZINE May 2003 vol 8 #5 “Writers’ Picks” exhibition at UCU, NY p.46

2002    The New York Times, exhibition review by Ken Johnson, January 11, 2001 p. E 46

2001    Koelner Stadt Anzeiger, “Witz und Sehnsucht” by Jurgen Kisters, March 30/April 1, 2001 p.39

2001    Prinz, April, exhibition review

2001    Koelner Illustrierte, April, exhibition review by Jurgen Raap

1999    NY Arts Magazine, January 28, exhibition review by Mark Bourbon,

1998    Doreen McCarthy and Claudia Desgranges ,Gothaer Kunstforum, exhibition catalogue

1998    Kölner Stadtanzeiger, April 12, exhibition review

1996    In Thee Dimensions: Women Sculptors of the 90s Newhouse Center for Contemporary Art,

Snug Harbor Cultural Center, New York

1995    Realm of Arrival: Sculpture by Doreen McCarthy 1993-94, New York

1985    BOMB Magazine, October, New York