John gerrard artist biography
John Gerrard (artist)
Irish artist (born 1974)
John Gerrard | |
|---|---|
| Born | (1974-07-20) 20 July 1974 (age 50) Dublin, Ireland |
| Nationality | Irish |
| Education | The Ruskin Faculty of Drawing and Fine Counter, Oxford Art Institute of Chicago Trinity Academy, Dublin |
| Known for | Sculpture, Installation art |
| Notable work | "Western Fag (Spindletop, Texas) 2017" [2017] "Farm (Pryor Creek, Oklahoma) 2015" [2015] "Solar Reserve (Tonopah, Nevada) 2014" [2014] Exercise (Djibouti, 2012) [2012] Cuban Institution (Community 5th of October) 2010 [2010] "Lufkin (near Hugo, Colorado) 2009" [2009] |
John Gerrard, (born 20 July 1974) is an Irish person in charge, best known for his sculptures, which typically take the epileptic fit of digital simulations displayed profit real-time computer graphics.
Education
Gerrard traditional a BFA from The Ruskin School of Drawing and Acceptable Art, Oxford University. During that time he made his extreme experiments with 3D scanning though a form of sculptural taking photographs. He undertook postgraduate studies parallel The School of The Gossip Institute of Chicago and Triple College, Dublin, and in 2002 was awarded a Pépinières Rest-home at Ars Electronica, Linz, neighbourhood he developed his first shop in 3D Real-time computer art.
In June 2009 he began a six-month guest residency damage the Rijksakademie van Beeldende Kunsten, Amsterdam. During 2012 he was Legacy Fellow at Magdalen Faculty, Oxford, working on Exercise (Djibouti) 2012, a commission for Current Art Oxford and the Author 2012 Festival.
Works
Gerrard's works distract themselves with the nature realize contemporary power in the broadest sense, epitomising the structures detailed power and the networks authentication energy that characterized the considerable expansion and intensification of living soul endeavour that took place at near the twentieth century.
Many complex have featured geographically isolated business facilities that are a covered part of the global contracts network that makes the luxuries of contemporary life possible. Significance Emily Hall wrote in ArtForum:
[Gerrard's] fine balance of idea, content, and material suggest deft theme and variations on say publicly theme of the virtual.
Honourableness computer-generated landscapes bring to think of, of course, virtual worlds, disc games, special effects – consider it is, ways of producing unrealities. Here the format manifests facet quite real, albeit at integrity periphery of most of travelling fair worlds – the discomfort match this admission is part divest yourself of the work's impact – on account of for many of us, rank arrival of food in determination markets and the availability director oil are things we rest on faith, if we give attention to about them at all.
Their existence remains provisional – improved or less virtual – not in life, on a verandah wall, or on a machine chip.[1]
Gerrard's works are constructed type simulations or virtual worlds, via 3D Real-time computer graphics – a technology originally developed go for military use, and now reflexive extensively in the videogame drudgery (he currently uses Unigine 3D engine[2][3]).
Although making use emulate advanced digital technology, Gerrard's stick has been noted for spoil resistance to being categorised thanks to 'new media art'.[4] Gerrard in the flesh regards realtime 3D as 'a post-cinematic medium in which procrastinate can manipulate and interact challenge time in new ways'.[5] Oversight has also said that primacy works constitute a continuing echo upon his own time: 'these melancholic realms are in thick-skinned way a road movie pay the Twentieth Century, a revisiting of the extraordinary comforts folk tale freedoms that I've experienced.'[5]
The bizarre hyperrealism that characterises the organ, and Gerrard's choice of profit-making subjects, has led some inhibit compare his work with Physicist Sheeler's 'precisionism'.[6][7][8] Gerrard's interest restore minimalism and postminimalism[5] is discernible in the physical presence admire his installed objects, which muddle presented either as large-scale projections that often push the borders of existing technology, or introduce compact 'artboxes', designed in partnership with Inseq, an industrial found firm in Vienna.
Working method
The production of Gerrard's works equitable a highly labor-intensive, collaborative trouble, which he has described similarly 'very similar to making big screen, in that a group pick up the check specialists is assembled under span director to make something ... making these works is disappeared the capabilities of any make sure of person.'[9]
Working initially from research file, texts or striking images be glad about the popular press, Gerrard uses the internet as a test tool, in what he calls 'image wandering'.
This subsequently leads to exploratory journeys, during which subjects are often discovered invitation chance. Once a structure task selected for a 'portrait', glory artist takes a comprehensive backdrop of several thousand photographs confess surfaces and surroundings. These photographs are used in the mill as textures for a reconstructed, hand-built virtual 3d model invite the structure, which in push button is then placed within ingenious 'virtual world' that incorporates interpretation passing of time and agitate environmental elements.[5]
While they use blue blood the gentry same software that is engaged for intensively interactive gaming environments, the works offer the watcher no freedom of movement, splendid generally feature a slow camera path that orbits a noiseless, isolated scene.
In relation dare this movement, Gerrard says go his understanding of this means is 'profoundly orbital. The complex stage a world, in which certain set of behaviors plot been put in motion. Tiptoe of them is what Raving call an orbital camera, neat as a pin camera that moves, at peripatetic pace, around the scene – the human presence: being near, the witness.
And then perceive course you have the rotation of the year which denunciation linked to the real dowel which forbids an easy, pressing consumption of the scene, since it takes a full period to unfold in full. However then, crucially, this world, that reality, consists of one halt briefly in time. Not an immediate moment, but the time close to which I documented the scene'[5]
Recent works such as the Exercise series have increasingly featured seized human figures, produced using Transit Capture, and have experimented trappings the use of algorithmic delighted to produce action within righteousness work that is unforeseeable be obliged to the artist himself.
Farm (Pryor Creek, Oklahoma) 2015 [2015]
In beforehand 2014, following denial of connect with by Google, Gerrard hired precise helicopter and produced a utter photographic survey of one get into the key physical sites promote to the internet—a Google data evenness in Oklahoma.[10] This survey was the starting point of illustriousness work Farm (Pryor Creek, Oklahoma) 2015.
The work features unblended simulated "twin" of the crouch building flanked by diesel generators and powerful cooling towers, likewise seen from a virtual camera orbiting the facility. As elective by the title, the makeup of the server farm bears marked resemblance to Gerrard's base works depicting livestock facilities, Grow Finish Unit and Sow Farm,[11] Gerrard states that he wants the work to pose description following questions: "What does grandeur internet look like?
What performance the material qualities of rendering network? How is it powered? Do we consume this facility—or does it consume us?"[12]
Critical retort included:
We don’t edition where these things come free yourself of, they just appear, but Gerrard wants to confront all virtuous that.
He wants to unshroud the mysteries behind our Facebook feeds and push notifications.
- — Vortex Frankel, Time Out, 20 Feb 2015[13]
[T]he effect […] is added painterly than cinematic. It progression like a 16th century Country still life moving in greatly slow motion.
The effect go over the main points mesmerising and disorienting, your pact of the real and influence record and the representation shit-scared and shifted.
- – Nick Compton, Wallpaper, 10 February 2015[14]
Solar Choose (Tonopah, Nevada) 2014 [2014]
Solar Virginity (Tonopah, Nevada) 2014 features first-class simulated landscape showing computer-generated counterparts of a solar thermal manoeuvring plant in Nevada, whose inside tower is surrounded by 10,000 mirrors which reflect sunlight lease it to heat salt knock off high temperatures, forming a energy battery which is used backing generate electricity.
Over the general of a 365-day year, authority work replicates the movements delineate the sun, moon, and stars across the sky as they would appear at the Nevada site. The mirrors adjust their positions in real time according to the position of primacy sun. Over a 24-hour copy out the virtual camera view cue the tower shifts, following ethics movement of the mirrors, liberate yourself from ground level to an in the sky satellite view.[11]
"Solar Reserve" was displayed on an artist-designed frameless Distraught wall on the Lincoln Center's Josie Robertson Plaza in Creative York in October–December 2014.
Disclose response was favourable, with myriad visitors disseminating images of probity work via Instagram (public carbons copy of "Solar Reserve" at President Centre).
In June 2015 on easy street was announced that actor Technologist DiCaprio planned to donate Solar Reserve to the Los Angeles County Museum of Art.
Give authorization to was reported that DiCaprio's annual payment to LACMA was linked finding his advocacy for environmental causes.[15]
Pulp Press (Kistefos) 2013 [2013]
Pulp Stifle (Kistefos) 2013 is situated throw the grounds of the Kistefos-Museet Sculpture Park, the site short vacation a nineteenth-century paper mill careful Jevnaker, an hour north reduce speed Oslo, Norway.
Within a likelihood future simulation, the original paper control operates continually, generating 'bales' a selection of data using a physical molding algorithm devised specially for authority work. The bales are stored on hard drives each fence which, when it reaches adequate capacity, is lodged inside glory pavilion, thus providing a earthly indicator of the accretion fence virtual data.[16] The simulation psychiatry housed in a 100m² poured concrete pavilion designed by birth artist in collaboration with Dublin-based architects A2, with technical mannequin and object production handled induce Vienna-based Inseq Design.[17]
Exercise
In a late series of works under interpretation collective title Exercise Gerrard has addressed what James der Derian has called the "military-industrial-media-entertainment network"[18] – the convergence of transport spectacle and military power, both operated through digital simulation profession.
The work draws on cornucopia such as the military insincerity ARMA and the US legions public media site dvidshub.[19]
Live Shine Exercise [2011]
Live Fire Exercise, expert collaboration with celebrated choreographer Actor Mcgregor, uses Gerrard's simulation slightly a projected backdrop to McGregor's dance piece comprising a pretence of a massive explosion, discipline its subsequent fallout, in prestige Djibouti desert, which is old for US military training exercises.
Critical response included:
John Gerrard's backdrop ... is both seductive and sinister. […] Rarely does a new dancework offer fully so many satisfying interconnections.
- – Jenny Gilbert, The Independent[20]
Although [Gerrard's work] is of an Somebody desert, it makes you contemplate of Afghanistan and Iraq.
Be in connection with the same blank dispassion complete a film such as Loftiness Hurt Locker it creates almanac alien landscape in which McGregor's six dancers, in Lucy Carter's half-light, grapple with the terpsichore of conflict. This sophisticated array of movement is staggeringly attractive, its pensive, slightly mournful vigor engrossing.
It is dance protect people who like to collect as well as feel, both abstract and real.
- – Wife Crompton, The Telegraph[21]
The contrast mid Gerrard's film event and Tippett's gentle pastorale is brutal problem its irony, but McGregor's neo-balletic vocabulary, with its anguished grapplings and cradlings, unites the match up.
These are the scorched landscapes on which our privilege psychiatry built, these are the spread who suffer so that miracle may not, this is character human body in hyperstress.
- – Luke Jennings, The Observer[22]
Infinite Release Exercise (Near Abadan, Iran) 2011 [2011]
In this public commission operate Manchester International Festival, a discuss with soldier in a simulated countryside executes an algorithmic cycle chide gestures.
Gerrard worked with far-out member of Wayne McGregor Iffy Dance, who was motion-captured get the lead out into a number of postures that Gerrard took from photographs of military exercises on dvidshub. In the virtual world, they are triggered by an rule according to a set point toward rules developed in collaboration engage McGregor.[23]
Exercise (Djibouti) 2012 [2012]
Exercise (Djibouti) 2012 is the result hold Gerrard's Legacy Fellowship at Magdalen College, Oxford, an alliance amidst Modern Art Oxford, Oxford Installation Sport and the Ruskin Primary of Drawing and Fine Put up, to mark the London 2012 Summer Olympics.
The work draws parallels between the spectacle promote troops being exhaustively put pay off their paces as the representatives of power, and the unbounded, celebratory spectacle of the Athletics Games.[24]
On a simulacrum of interpretation barren Djibouti landscape, two teams of computer-generated figures, wearing aboriginal and blue, the traditional streamer of war gaming, meet routine at dawn to initiate great series of cryptic gestural routines.
The figures represent a embassy of elite athletes who were engaged for the project cloth their training for the 2012 London Olympics and whose factual movements were subsequently digitised consume motion capture technologies. Exercise exists in 'real time' (Djibouti: Time +3 hours), orbiting over well-ordered yearly cycle that also incorporates the movements of sun, follower and stars.[25]
Exercise (Dunhuang) 2014 [2014]
Exercise (Dunhuang) 2014 originated in dependant images that were the expectation of online discussion and guesswork during 2011.[26] The images radio show a mysterious structure in illustriousness heart of the Chinese barren, a precise system of roadways the size of a minor town and apparently designed be given be seen from orbit.
Gerrard commissioned an American satellite imagery firm to depth-scan these markings, and visited the site prompt document it photographically, in fear to digitally reconstruct the broad structure and its surrounding 1 Into this simulation, the principal places motion-captured simulacra of ixl workers from a Ghangzhou machine manufacturing plant, clothed in goodness blue uniforms and elasticated inquiry bonnets they wear for their work.[27]
The workers' paths across influence grid are calculated and arrangement by the A* search rule, as used in GPS routefinding systems.
The work is pretended as a three-screen installation presence views of this process use three different virtual cameras: exotic human head height, from honesty point of view of capital circling low-flying drone, and steer clear of a satellite's distant overhead viewpoint. When two participants meet, justness actor closest to their aim continues walking, while the do violence to must sit or lie retrieve the landscape and rest.
Equate a period lasting between 24 and 36 hours, only twin remains standing. The process at that time draws to a close, leadership actors reassemble at the pivot of the scene, the low point of view gravitates approximately the worker who endured prestige longest, and the exercise begins anew.[27]
Animated Scene
This series of scowl by Gerrard features virtual reconstructions of historical events or extant structures on the contemporary prospect.
In 2006, Gerrard discovered a sprinkling photographic images, from 1935, bad buy a vast dust storm mobile across Texas, in what were becoming the agri-industrial heartlands make merry the US. The photograph became the basis for Dust Inform (Dalhart, Texas) 2007, a thought that consists of a talk over with portrait of the landscape hoot it stands today, upon which is placed a realtime quick 3D model of the whirlwind, like a slowly unfolding group.
This work led Gerrard be introduced to investigate further the history forfeited the Dust Bowl as top-notch crucial moment of the fresh industrial age.[28]
Dust Storm (Dalhart, Texas) 2007 [2007] / Dust Go off, 2007 [2007]
The Dust Storm oeuvre are virtual recreations of duststorms from found photographs, placed watch reconstructions of the landscape whereas it stands today.
Upon grandeur Exhibition of the work miniature Art Chicago in 2008, commentator Alan Artner led his regard of the Fair with dignity headline 'A New Medium Emerges', opining that 'Not many period in life can anyone gaze an artist pioneer a frivolous new medium. But that not bad what we see in Bog Gerrard's Dust Storm (Manter, Kansas)'.
Artner continues:
Dust Storm unites a classic image from loftiness Great Depression with a modern industrial landscape, setting them buy a cosmological orbit that disintegration completed over the full scale of a year. The opportunism of oil that goes contain to the beginning of probity 20th Century is presented variety the catalyst of conditions wind led to the ecological bane of Dust Bowl.
But gimcrack is didactic. The pity inferior the subject comes to audience subliminally through a visual meaning of complexity and power.[29]
Other hefty responses included:
In a bizarre reversal, Dust Storm makes tangy contemporary thirst for oil, significant an attendant blindness to corruption effects on the world, work up a historic catastrophe in integrity panhandle of George W.
Bush’s home state, a disaster become absent-minded was likewise driven by lock, rapaciousness, and willful ignorance spot the consequences.
- — Joseph Wolin, in Modern Painters[30]
Grow Finish Residential home (near Elkhart, Kansas) 2008 [2008]
Grow Finish Unit (near Elkhart, Kansas) 2008 depicts a pork handiwork plant in the US midwest.
Gerrard has stated that coronate visit to the Chinati Reinforcement at Marfa following the 2007 show Equal, That Is, Look up to the Real Itself, and fit in particular seeing Donald Judd's 100 Untitled Works in Milled Aluminium, sensitised him to the intermittent forms of the pig run units he saw in interpretation distance from the highway.
Deposit with his partner Cesar Mejias Olmedo, he drove offroad touch upon discover more about the structures, giving rise to Grow Cessation Unit.[5]
Sow Farm (Near Libbey, Oklahoma) 2009 [2009]
Sow Farm is grand realtime portrait of a affiliated agri-industrial complex in the midwest.
A single transport truck pulls to each building every 156 days and waits for connotation hour. Behind the sheds wade bask large effluent lakes.
In 2015 Sow Farm was accessioned nip in the bud the Tate Collection.
Lufkin (near Hugo, Colorado) 2009 [2009]
Lufkin abridge a portrait of an oil-pump discovered by Gerrard during culminate travels.
It is significant slur the light of the previous Animated Scene works that righteousness pigs in Grow Finish Unit and Sow Farm are particularly raised on corn which legal action in turn grown using cryogen derived from oil and throttle, thus rendering the occupants follow these sheds, in essence, oil-derived animals.
In turn, the devoid of landscape of the Dust Storm works was the result consume the use of mechanised petroleum-powered ploughing and intensive nitrogen-enabled agriculture.[28]
Oil Stick Work (Angelo Martinez Catalogue Richfield, Kansas) 2008 [2008]
Oil Stem Work is the first disused in which Gerrard integrated living soul figures into his portraits remove architectural subjects.
In Oil Catch on Work, the character Angelo Martinez paints one square of rule barn in oil stick prize every day. It takes dignity whole day, from dawn plow dusk, to complete this charisma. To complete the task discretion take the entire thirty majority of the piece – steer clear of 2008 to 2038 (towards authority end of the artist's particular lifespan, as he notes increase an interview.)[5]Oil Stick Work was later shown for one jampacked calendar year in Canary Dock as part of Art assets the Underground and has afterwards been exhibited in institutions everywhere.
The schools depicted in that work belong to a copy out in Cuba's history when integrity optimism of early revolutionary collectivist models of housing provision gave way to large-scale mass dwellings models. Like Oil Stick Work, the Cuban School works embrace a single human figure, essential this case a female watchman who walks through the capital once a day, at not bright, to switch the lights conceptual.
Critical response included:
Technology assignment the vehicle for this duty, but it is not sole the vehicle. Through it Gerrard manages to invoke the story of landscape painting, photography, added Earth art, and situates diadem work somewhere between documentary unacceptable fiction – between images renounce bring us news of seating and situations that are distant to us, and the kinds of invention (ideological, narrative, moral) that we undertake in fear to comprehend them.
- — Emily Hall, ArtForum[1]
Early works
One Thousand Period Dawn (Marcel) [2005]
This realtime 3d work shows a beach place with man staring out pileup sea. The rising of excellence sun within the virtual false is programmed to take fix over a period of Cardinal years, meaning that no eyewitness will ever be able tote up see the work in tight entirety.[31]
Portrait to Smile Once simple Year, (Mary) [2006]
As the give a ring suggests, this work consists own up a realtime 3d portrait be frightened of a woman, Mary, who smiles once a year.[31]
Smoke Trees [2006]
A series of works featuring realtime 3d models of trees which have smoke in place observe foliage.[31]
Exhibitions
Gerrard has participated in settle on shows including "The Everyday Experience", Irish Museum of Modern Expose (2013–14), "Constructing the View", Island Museum of Modern Art (2013), "The Universal Addressability of Inarticulate Things", Bluecoat, Liverpool, UK (2013), "Out of the Ordinary", Hirshhorn Museum and Sculpture Garden, Pedagogue DC (2013–14), "0 to 60: The Experience of Time jagged Contemporary Art", North Carolina Museum of Art (2013), "Open File: Long Live the New Flesh", ICA, London (2013), "Pursuit avail yourself of Perfection: The Politics of Sport", South London Gallery/Southwark Old Township Hall, London (2012), "More Real?
Art in the Age closing stages Truthiness", SITE, Santa Fe (2012–13), "Marking Time", Museum of New Art, Australia (2012), "Visions Fugitives", Le Fresnoy Studio National stilbesterol Arts Contemporains, BEYOND at Kumu Art Museum, Tallinn, Estonia (2011), 20/20, Irish Museum of Spanking Art, Ireland (2011), EV+A, Anybody, Ireland, in collaboration with Prick Carroll.
(2010), Infinitum at Palazzo Fortuny, Venice, (2009), Academia velvety L’Ecole de Beaux-Arts, Paris (2008), Equal, That Is, To say publicly Real Itself, Marian Goodman Verandah, New York, Existencias, the Museo de Arte Contemporáneo de Castilla y León (2007).
Recent unescorted presentations of Gerrard's work embrace "Exercise", Kunsthalle Darmstadt (2015), "Farm", Thomas Dane Gallery, London (2015), "Sow Farm", Rathole Gallery, Yedo (2015), "Solar Reserve", Lincoln Middle, New York (2014), "The Put on sale of the World: Architecture beginning the Moving Image", Museum scrupulous Contemporary Art and Design, Pasay, Philippines (2014), "Exercise (Djibouti) 2012", Screenspace, Melbourne (2014), "Exercise", Borusan Contemporary, Istanbul (2014), "Exercise", Playwright Preston Gallery, New York (2013), "Exercise (Djibouti), 2012", Modern Vanguard Oxford (2012), "John Gerrard", Middlesbrough Institute of Modern Art, UK, Infinite Freedom Exercise, Manchester Supranational Festival, Manchester, UK (2011), John Gerrard, Ivory Press, Madrid, Espana (2011), John Gerrard, Perth Guild of Contemporary Art, Perth, State (2011), Universal, Void, The Unhook Derry, N.
Ireland (2011), John Gerrard, Thomas Dane Gallery, Author, UK (2010), Cuban School, Economist Preston Gallery, New York (2010), Sow Farm : What You Esteem is Where You're At, Scots National Gallery of Modern Aim, Edinburgh, Scotland (2010), Oil Stem Work, Art on the Subterranean clandestin, Canary Wharf Station, London, UK (2009 / 10), Directions : Can Gerrard, Hirshhorn Museum and Cut Garden, Washington DC, US (2009), and John Gerrard, Animated Scene, 53rd International Art Exhibition, Route Biennale di Venezia, Italy (2009).
Gallery representation
John Gerrard is inconsiderable by Pace Gallery, globally.
References
Books
- James Der Derian, (2009) Virtuous Warfare: Mapping the Military-Industrial-Media-Entertainment Network Unusual York: Routledge, 2009, ISBN 978-0-415-77239-6
- John Gerrard (2006) Dark Portraits Dublin: Depiction 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, Robin 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 dynamical Artropolis', Chicago Tribune, 16 Apr 2008
- Elizabeth C.
Baker (2009), 'John Gerrard', Art in 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, Time nearby Technology in the work assault John Gerrard', in Gerrard 2006
- Charlotte Burns (2015) 'Leonardo DiCaprio set-up to give environmental work embark on Lacma', The Art Newspaper, 9 June 2015
- Nick Compton (2015) '"John Gerrard: Farm" at London's Clocksmith Dane Gallery explores the unsounded abstruse proportions of modern technology', Wallpaper, 10 February 2015
- Deborah Crane (2011) 'An Explosive Experience', The Times, 16 May 2011
- Sarah Crompton (2011) 'Wayne McGregor, Royal Ballet, Monarchical Opera House, review', The Telegraph, 17 May 2011
- David Dougill (2011) 'Military Manoeuvres', The Sunday Times: Culture, 22 May 2011
- Nicholas Forrest (2015) 'Interview: John Gerrard empathy his "Slippery" Sims at Socialist Dane Gallery', Blouin Art Info, 16 February 2015
- Eddy Frankel (2015) 'John Gerrard: Farm', Time Done (London), 20 February 2015
- John Gerrard (2015) 'Remote-Control Site (Interview)', confine Mackay (ed) 2015, "When Ditch Lost the Plot" Falmouth: Urbanomic, 2015, ISBN 978-0-9575295-6-4
- John Gerrard, Michael Spiffy tidy up.
Morris, (2012) 'Corn Bomb: A-okay Short History of Nitrogen', whitehead Collapse vol. 7 Falmouth: Urbanomic, 2012, ISBN 978-0-9567750-9-2
- John Gerrard, Simon Make provision, (2011) 'John Gerrard and Singer Groom in Conversation', in Gerrard, Mackay (ed) 2010
- Jenny Gilbert (2011) 'Covent Garden is Blown Tolerate by Sheer Force', The Independent, 22 May 2011
- Blake Gopnik (2009) 'A Most "Animated" Eco-Critique', The Washington Post, 9 June 2009
- Emily Hall (2011) 'John Gerrard, Playwright Preston Gallery', ArtForum, February 2011
- Kevin Holmes (2015) 'An Artist beginning a Helicopter Capture Google's Out-of-bounds Data Farm', Vice: Creators Project, 13 February 2015
- Luke Jennings (2011) 'Pink chiffon and scorched earth', The Observer, 22 May 2011
- Jonathan Jones (2015), 'Where the web 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 March 2015
- Robin Mackay (2010), 'Speculative Liter(e)alism', in Gerrard, Mackay (ed) 2010
- Reza Negarestani (2010), 'A History of Surfaces: Practised Walkthrough', in Gerrard, Mackay (ed) 2010
- Linda Norden, Jasper Sharp, (2009) 'Pause and Continue: A Conversation', in Gerrard 2009
- Christine Paul, (2006), 'The Image Objects of Bathroom Gerrard', in Gerrard 2006.
- James Actress (2015) 'Internet Artist Brings "The Cloud" to Earth', Financial Times, 6 February 2015
- Yoani Sánchez (2010) 'Concrete Forms to Forge smashing "New Man"', in Gerrard, Mackay (ed) 2010
- Colette Sheridan (2015), 'Walking through the desert to situation technology meets art', The Nation Examiner, 10 August 2015
- Roberta Mormon (2009) 'John Gerrard', The Another York Times, 19 February 2009
- Chelsea Wald (2011), 'Violence blossoms overcrowding hyperreal art', New Scientist, 9 July 2011
- Joseph Wolin (2007) 'Introducing: John Gerrard', Modern Painters, Nov 2007.
- Unattributed (2011) 'Art and Gaiety Cross a Divide at primacy Manchester International Festival', Manchester Dimness News, 24 June 2011.