Edited with text by Henriette Huldisch. Foreword by Mary Ceruti. Text by Eugenie Brinkeman, Aruna D’Souza, Courtenay Finn.
A career-spanning survey of the adored French artist whose conceptual works explore the tensions between the observed, the reported, the secret and the unsaid
This volume accompanies the eponymous show at the Walker Art Center in Minneapolis, which is the first exhibition in North America to explore the range and depth of artist Sophie Calle’s practice across the past five decades. Through examples of major bodies of work as well as lesser-known pieces, the exhibition captures Calle’s astute probing into the human condition and reveals ways that her early work anticipated the rise of social media as a space to create and share oneself. The presentation features photography, video, installations and text-based works, highlighting the artist’s virtuosic use of different mediums to explore broadly recognizable and emotionally resonant themes. Organized into four thematic sections—“The Spy,” “The Protagonist,” “The End” and “The Beginning”—the book takes a new approach to some of Calle’s most acclaimed works including The Sleepers (1979) and Suite Vénitienne (1980), while also weaving in understudied works including Cash Machine (1991–2003) and Unfinished (2005). The catalog further explores this new examination of Calle's work with original writing by Henriette Huldisch, Eugenie Brinkeman, Aruna D’Souza and Courtenay Finn. Sophie Calle (born 1953) is an internationally renowned artist whose controversial works often fuse conceptual art and Oulipo-like constraints, investigatory methods and the plundering of autobiography. The Whitechapel Gallery in London organized a retrospective in 2009, and her work has been shown at the Museum of Modern Art and the Whitney Museum of American Art, New York; the Carnegie Museum of Art, Pittsburgh; the Museum of Fine Arts, Boston; the Hayward Gallery and Serpentine, London; and the Museum of Contemporary Art, Chicago, among others. She lives and works in Paris.
Featured image is reproduced from 'Sophie Calle: Overshare.'
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The largest-ever North American exhibition of work by a French photographer and conceptual artist who anticipated the boundary-blurring effect of social media.
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“Because revenge is a dish best served cold.” So reads the text on the curtain that covers Sophie Calle’s “Mother-Father” (2018), reproduced here from Overshare, the catalogue to Calle’s traveling retrospective, on view now at the Walker Art Center. Death and mortality have been a running theme in Calle’s work, including this series, begun in the 1990s, in which she photographed headstones that read “Mother” or “Father” without any other identifiers. In other series, she famously spied on people in the street, invited them to sleep in her bed, or snooped through their belongings while working as a hotel maid. She traced the dissolution of her romantic relationship. She collated personal ads. She documented people seeing the ocean for the first time. “Calle has centered the personal, the intimate, and the emotional while refusing to cede judgment to anyone else on what’s too much or what goes too far,” Henriette Huldisch writes. “There is nothing accidental or involuntary in Calle’s way of oversharing—a word she would certainly never use. Calle is always in full control of which stories she chooses to tell. She shows us better than anyone that perhaps oversharers know what they’re doing.” continue to blog
FORMAT: Pbk, 9.5 x 11 in. / 200 pgs / 100 color / 100 b&w. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $71 GBP £45.00 ISBN: 9781935963301 PUBLISHER: Walker Art Center AVAILABLE: 11/12/2024 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Walker Art Center. Edited with text by Henriette Huldisch. Foreword by Mary Ceruti. Text by Eugenie Brinkeman, Aruna D’Souza, Courtenay Finn.
A career-spanning survey of the adored French artist whose conceptual works explore the tensions between the observed, the reported, the secret and the unsaid
This volume accompanies the eponymous show at the Walker Art Center in Minneapolis, which is the first exhibition in North America to explore the range and depth of artist Sophie Calle’s practice across the past five decades. Through examples of major bodies of work as well as lesser-known pieces, the exhibition captures Calle’s astute probing into the human condition and reveals ways that her early work anticipated the rise of social media as a space to create and share oneself. The presentation features photography, video, installations and text-based works, highlighting the artist’s virtuosic use of different mediums to explore broadly recognizable and emotionally resonant themes. Organized into four thematic sections—“The Spy,” “The Protagonist,” “The End” and “The Beginning”—the book takes a new approach to some of Calle’s most acclaimed works including The Sleepers (1979) and Suite Vénitienne (1980), while also weaving in understudied works including Cash Machine (1991–2003) and Unfinished (2005). The catalog further explores this new examination of Calle's work with original writing by Henriette Huldisch, Eugenie Brinkeman, Aruna D’Souza and Courtenay Finn.
Sophie Calle (born 1953) is an internationally renowned artist whose controversial works often fuse conceptual art and Oulipo-like constraints, investigatory methods and the plundering of autobiography. The Whitechapel Gallery in London organized a retrospective in 2009, and her work has been shown at the Museum of Modern Art and the Whitney Museum of American Art, New York; the Carnegie Museum of Art, Pittsburgh; the Museum of Fine Arts, Boston; the Hayward Gallery and Serpentine, London; and the Museum of Contemporary Art, Chicago, among others. She lives and works in Paris.
