Texts and photos in the form of autobiography and confidences. This box of 50 postcards brings together Sophie Calle's most famous works.By Sophie Calle
For Voir la mer, Sophie Calle invited inhabitants of Istanbul, who often originated from central Turkey, to see the sea for the first time. “I took 15 people of all ages, from kids to one man in his 80s … once we were safely by the sea, I instructed them to take away their hands and look at it. Then, when they were ready--for some it was five minutes and for others 15--they had to turn to me and let me look at those eyes that had just seen the sea.” The project was eventually composed of 14 five-minute videos, made for Calle by Caroline Champetier. Each person is filmed from behind, eventually turning to face the camera, revealing the emotions the experience has evoked. This charming catalogue features Calle’s evocative photographs of these subjects.By Sophie Calle
TV Dinner documents an important installation at the Museum by Maurizio Cannavacciuolo. The Italian artist's first museum exhibition in the U.S., "TV Dinner" is an intricately patterned site-specific wall drawing, executed in two parts, which contains hidden narratives about the Museum's collection and legendary founder as well as elements characteristic of Cannavacciuolo personal myths and low-key humor. This book documents the five-month installation and surveys Cannavacciuolo's earlier works. Essays include an examination of the process by which Cannavacciuolo created this monumental yet ephemeral work by Pieranna Cavalchini and a consideration of his wider oeuvre with particular attention to the role of performance and pattering in his art by Marcia E. Vetrocq.By Maurizio Cannavacciuolo
Flat leather bag with back zipper in black. Wood hand-carved handle from Santa María Rayón. Inspired by a molinillo, a traditional Mexican hot chocolate whisk.
‘I like the word ‘unpleasant’’ says UK-born, Indian contemporary artist Bharti Kher, whose heterogeneous oeuvre of work comprises painting, sculpture and installation.
She works primarily with representations of the female body and plays with the varied roles of women in society and culture. In her work from the last twenty years, time and again we see the motif of the bhindi, the dot painted on the forehead between the eyebrows that comes from Hindu tradition.
Chimera, the title of the exhibition at the Kunsthaus Pasquart in Biel, can be understood in relation to mythology as well as genetics. Bharti Kher sees her artistic practice as the search for the chimera, and in her works she hovers on the dividing line between reality and illusion.
Her monumental pieces encompass ideas of identity, social roles and gender. In interplay with clear references to the anatomy of humans and animals, they trigger strong emotions in observers such as alarm, confusion, shock or amusement.
Published on the occasion of the exhibition, Bharti Kher: Chimeras at Kunsthaus Centre d’art Pasquart Biel/Bienne (26 June – 28 August 2018).Written by Aveek Sen, Susan Silas, Chrysanne Stathacos
7.8 x 10 inches
London-born, Delhi-based Bharti Kher is becoming known for her evocative, layered sculptures and paintings, which explore identity and multiplicity. Featured here is a series inspired by a 1928 autopsy of a blue sperm whale, which Kher has spun into imagery conflating Indian traditions with gothic, punk and camp elements.Text by Ranjit Hoskote
Published on occasion of the exhibition of the same name held at the Freud Museum from September to November 2016, ‘This Breathing House’ offers an intimate view of Indian artist Bharti Kher‘s installation in Sigmund Freud’s final home in London.
Following a foreword from the museum’s director, the essay by Stephanie Rosenthal, Chief Curator of the Hayward Gallery, explores Kher’s work, its themes and dialogue with its setting. The essay, separated into enumerated sections, unfolds the vivid and history-laden artworks, interpreting their forms while also leaving room for interpretation. Quotes feature from the artist herself as well as Sigmund and Anna Freud, Gaston Bachelard, Georges Didi-Huberman and Maggie Nelson among others. Replete with installation views as well as detail shots of individual works, the publication reads like a thoughtful measured walkthrough of the exhibition itself.Text by Stephanie Rosentha, foreword by Carol Seigel
A pioneer of the conceptual art movement, Joseph Kosuth's work explores the role of meaning in art and, like an archeologist of language and culture, he orders words and ideas from our historical memory into distinct yet intersecting layers of cultural activity--ones that are experienced today. For his 2003 exhibition celebrating the Museum's Centennial Year, Kosuth used a variety of media--text, photographs, neon signage, archival materials, objects from the This Special Edition Guide blends the Museum's guide to the collection with documentation of Kosuth's installations throughout the galleries and on the exterior façade and three site-specific installations Kosuth set up as an open-ended dialogue between James McNeil Whistler, Bernard Berenson, and Gardner herself.Edited by Fiona Biggiero
By Melvin Moti with Douglas Ross and Runa Islam
Published by the Isabella Stewart Gardner Museum, 2012
8 x 0.3 x 7.25 inches
Jean-Michel Othoniel' first monograph follows the footsteps of a singular and secretive artist. Making use of the raw beauty of materials, Othnoiel is one of the few artists to balance a demanding artistic process with a sensitive and poetic approach. Beyond the seduction of form, he invites us to discover a world inhabited by dreams and enchantment, but also haunted by suffering and melancholy. The artist, who gained favor with the public with the Kiosk of the Nightwalkers for the Palais-Royal - Musée du Louvre metro station in Paris, has been the subject of numerous exhibitions and commissions in France and abroad.Written by Catherine Grenier
Laura Owens is a significant and prominent painter, whose apparently romantic-naive visual language dissolves any separation between abstract and figurative art. Her paintings move between vital colorism and an apparently symbolic representation that portrays both the world of the abyss and the world of dreams. The childlike handwriting in her ornamental paintings raises the issue of the limits of painting as an art form or as part of everyday life. This catalogue publishes works for the first time and accompanies Laura Owens‘ first solo museum exhibition in Germany.By Laura Owens, text by Stephan Berg, Stefan Gronert, Sarah Lehrer-Graiwer
The first encompassing publication on the work of the groundbreaking American artist Adam Pendleton (Gardner Artist-in-Residence, 2008)
Adam Pendleton's original and powerful body of work has been described as the embodiment of a new era. His multifaceted projects, which include painting, collage, film, and publishing, re-contextualize historical and theoretical positions on abstraction, blackness, and the avant-garde. Working predominantly in black-and-white, Pendleton often creates 'total works' that envelop viewers and push the limits of contemporary discourse.Written by Adrienne Edwards, Alec Mapes Frances, Andréa Picard
Turin-born, Brooklyn-based Luisa Rabbia produced this delightful book of collage--inspired by archival photographs purchased by Isabella Stewart Gardner from local photographers while traveling through China in 1883--during her residency at Boston's Isabella Stewart Gardner Museum. Rabbia manipulates the photographs with drawings made via digital projection.Written by Pieranna Cavalchini
The sketchbook features a drawing from the Museum's archives of Thomas McKeller by John Singer Sargent. McKeller posed for most of the figures—both male and female—in Sargent’s murals in the Museum of Fine Arts, Boston.
Perfect for sketching in the Museum's Courtyard!
Winner of the 2020 George Wittenborn Memorial Book Award from
The Art Libraries Society of North America
In 1916, John Singer Sargent (1856–1925) met Thomas Eugene McKeller (1890-1962) a young African American elevator attendant at Boston’s Hotel Vendome. McKeller became the principal model for Sargent’s murals in the new wing of the Boston’s Museum of Fine Arts, among the painter’s most ambitious works. Sargent’s nude studies and sketches from this project attest to a close collaboration between the two men that unfolded over nearly ten years. Featuring drawings given by Sargent to Isabella Stewart Gardner and published in full for the first time, a portrait of McKeller, and archival materials reconstructing his life and relationship with Sargent, this book opens new avenues into artist-model relationships and transforms our understanding of Sargent’s iconic American paintings. Essays offer the first biography of Thomas McKeller and a window into African American life in early 20th century Roxbury. They address the artist’s sexuality, his models, and consider questions of race and gender.
In Dream Villa Singh explores how the night transforms what seems ordinary by day into something mysterious and unsettling. This series of colour photographs presents a landscape which exists as much in the artist’s imagination as in the real world. Singh travels to many different cities never knowing where Dream Villa or its inhabitants will present themselves. It is a place where nothing is quite as it seems to be – it comes alive at night, when all is lit by artificial light and the moon is just ornamentation.By Dayanita Singh
“House of Love” is a work of photographic fiction that takes the form of nine short stories. Working closely with writer Aveek Sen, whose prose follows a journey of its own, Singh explores the relationship between photography, memory, and writing. “House of Love”, designed to blur the lines between an art book of photographic images and a work of literary fiction, is a book whose images demand to be read, not just seen, and whose texts create their own sensory worlds. The combination creates a new vocabulary for the visual book.
The “House of Love” itself is the Taj Mahal, but the Taj Mahal as a recurring motif that stands for a range of meanings—meanings made up of the truths and lies of night and day, love and illusion, attachment and detachment.By Dayanita Singh
Dayanita Singh’s Museum of Chance is a book about how life unfolds, and asks to be recorded and edited, along and off the axis of time. The inscrutably woven photographic sequence of Singh’s Go Away Closer has now grown into a labyrinth of connections and correspondences. The thread through this novel like web of happenings is that elusive entity called Chance. It is Chance that seems to disperse as well as gather fragments or clusters of experience, creating a form of simultaneity that is realised in the idea and matter of the book, with its interlaced or parallel timelines and patterns of recurrence and return. The eighty-eight quadratone images in the book will also appear on the front and back covers in random pairs, transforming each copy of the book into a distinct piece of work by the author.By Dayanita Singh, texts by Aveek Sen