Dorothy Cross (born 1956) is an Irish artist. Working with differing media, including sculpture, photography, video and installation, she represented Ireland at the 1993 Venice Biennale. Central to her work as a whole are themes of sexual and cultural identity, personal history, memory, and the gaps between the conscious and subconscious. In a 2009 speech by the president of UCC, Cross was described as "one of Ireland’s leading artists".[1]
Early life and education
Cross was born in 1956 in Cork, Ireland, one of three children of Fergus and Dorothy Cross.[1] Her older brother Tom went on to become a zoologist and professor at University College, Cork, while her older sister Jane was a swimmer who was on a team that set a world relay record at the 1985 World Masters Championships.[1] Cross herself was a competitive swimmer in her teens, becoming All-Ireland champion in the 100-meter breaststroke at the age of 15 and going on to win other medals over the next few years.[1]
Exhibiting regularly since the mid-1980s, Cross came to mainstream public attention with her first major solo installation, 'Ebb', at the Douglas Hyde Gallery in Dublin, Ireland.[1] This was followed, in 1991, by 'Powerhouse', at the ICA in Philadelphia, the Hyde Gallery and Camden Arts Centre in London and Kerlin Gallery in Dublin. Like 'Ebb', several of the component parts that made up 'Powerhouse' were 'found' objects - many of which had been in her family's possession for years or were located in different environments. These were then incorporated into mixed media pieces for exhibit. Cross's general approach of creating works using found objects has been referred to as "poetic amalgamation".[3]
During the early 1990s, Cross witnessed a traditional sieve created from a stretched cow's udder at a local museum in Norway and stated, "Seeing that a cow could be used for something other than producing milk was a total revelation."[4] In response, she began producing sculptural works, utilising cured cowhide, cow udders and stuffed snakes, which explored the cultural and symbolic significance of sexuality and subjectivity across cultures.[1] For Cross, the use of udders generated a strange mixture of disgust, hilarity, and excitement. Virgin Shroud (1993), for example, is a veil made from cow skin, with the udders forming a crown for the concealed figure; it references both the Virgin Mary and Meret Oppenheim's fur-lined teacup that was a partial inspiration for the piece.[4]Saddle (also 1993) incorporates an upturned udder into the seat of a horse's saddle.[5]
Cross is perhaps best known for her public installation Ghost Ship (1998) in which a disused light ship was illuminated through the use of luminous paint, in Scotman's Bay, off Dublin's Dún Laoghaire Harbour.[1] A recent series, Medusae, includes images of Chironex fleckeri, a type of jellyfish and was made in collaboration with her brother Tom.[6]
An exhibition, 'View', that took place between September and November 2014 at the Kerlin Gallery in Dublin, Ireland, included a series of new sculptures and photographs. The works, which are exemplary of the artist's complex exploration of the connection between humans and the natural world, and that play with material, relationship and time, capture the artist's ongoing compulsion to agitate possibilities for new perspectives and points of view.[8]
Allen Randolph, Jody. "Dorothy Cross." Close to the Next Moment: Interviews from a Changing Ireland. Manchester: Carcanet, 2010.
Lydenberg, Robin. Gone: Site Specific Works by Dorothy Cross. Chicago: University of Chicago Press, 2005.
Cross, Dorothy, Enrique Juncosa, and Sean Kissane. Dorothy Cross. Milano Dublin: Charta Irish Museum of Modern Art, 2005. ISBN9788881585335
"Heat and Cold: Projects by Dorothy Cross and Lewis deSoto at ArtPace in San Antonio." tate: the art magazine. Winter 1996.
Wilson, Claire. "Irish Eyes." Art and Antiques. Summer 1996.
Isaak, Jo Anna. "Laughter Ten Years After." Art in America. December, 1995.
Higgins, Judith. "Art from the Edge." Art in America. December, 1995.
Murdoch, Sadie. "Too Much of a Good Thing." Women's Art Magazine. July–August, 1995.
Cross, Dorothy, and Melissa E. Feldman. Dorothy Cross: power house. Philadelphia, Pa: Institute of Contemporary Art, University of Pennsylvania, 1991. ISBN9780884540632
References
^ abcdefghiMurphy, Michael B. "Introductory Address". University College, Cork, 2 December 2009. (Address on conferral of honorary doctorate on Cross)
^McGonagle, Declan; O'Toole, Fintan; Levin, Kim (1999). Irish Art Now: From the Poetic to the Political. New York: Independent Curators International.
^Kissane, Sean, ed. Dorothy Cross. Dublin: Irish Museum of Modern Art. A Charta Publication, 2005.
