Search results for ""Author Emily Wei Rales""

A survey of the psychologically, emotionally and often sexually charged work of Louise Bourgeois Celebrated for her singular contributions to 20th-century sculpture, drawing, painting, printmaking, installation and writing, French-born American artist Louise Bourgeois' (1911–2010) explorations of the human condition originated from her own lived experience. "My goal is to relive a past emotion," Bourgeois explained. "My art is an exorcism." Psychologically, emotionally and often sexually charged, Bourgeois' works intermingle the abstract and corporeal, the voluptuous and the distressing, to striking effect. Louise Bourgeois: To Unravel a Torment accompanies the first exhibition of the artist's work at Glenstone Museum, and features more than 30 major works drawn from the museum's collection. From her early wooden Personages to her large hanging sculptures, from suites of drawings and prints to textile works and her immersive Cells, To Unravel a Torment surveys Bourgeois' career through selected examples from her enormous body of work. Bourgeois was also a prolific writer, matching her sculptural language with reams of psychoanalytic musings on repression, symbolism and material. To Unravel a Torment also brings together never-before-published diary entries by the artist, annotated by Bourgeois scholar Philip Larratt-Smith, a contribution by art historian Briony Fer and an introduction by Emily Wei Rales, founder and director of Glenstone Museum.

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For nearly 50 years Japanese-born artist On Kawara (1932–2014) devoted himself to a quiet practice of marking time, incrementally, via various methods and media. He is best known for a continuous series of monochromatic canvases, collectively titled Today, upon which each work’s date of execution is painted in precise white script. This book marks the long-term exhibition of the Today triptych Moon Landing (1969) at Glenstone Museum. It includes text by E. B. White, an original essay by Lynne Tillman, installation photography and reproductions of all additional works by the artist in Glenstone’s collection.

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This book marks the long-term installation of Robert Gober’s (born 1954) seminal Untitled (1992) at Glenstone Museum. Untitled is an immersive, multi-sensorial installation with diverse constituent parts: sinks with running water, darkened exterior pathways, a brightly-lit interior chamber, a hand-painted 360-degree mural and discrete sculptural elements made to appear like prison windows, boxes of rat bait and bundles of newspaper. Robert Gober includes never-before-published archival images of the work’s original presentation at the Dia Center for the Arts in New York, an oral history based on interviews with the artist and collaborators, an original essay by author Jim Lewis and extensive imagery of the piece as installed at Glenstone Museum.

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In his sculptural practice, American artist Charles Ray (born 1953) has long been fascinated by the concept of representation, the depiction of the human form and questions of scale. Known for his keen sense of—and respect for—the uncanny, Ray has carved a widely admired path that crisscrosses the arenas of minimalism and conceptual art, while continually pushing the boundaries of visual perception. This book marks the long-term exhibition of works at Glenstone Museum selected by the artist, including Baled Truck (2013), a sculpture made of solid machined stainless steel, emblematic of the artist’s meticulous fabrication process. It also includes a conversation with—and text by—the artist and installation photography.

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The third installment commemorating Charles Ray's rotating exhibitions at Glenstone The diverse sculptural practice of American sculptor Charles Ray (born 1953) has long challenged perceptions of scale, material and subject matter, necessitating multiple viewings over time. Charles Ray: Volume III is part of an ongoing series of publications commemorating rotating exhibitions of the artist’s work at Glenstone Museum, the third of which opened in the winter of 2021. Organized in close collaboration with the artist, the selections showcase Ray’s practice from early in his career to the present day, with four works ranging in material from concrete and steel to handmade paper used to realize a recent self-portrait, Return to the one (2020). This catalog includes documentation of the exhibition at Glenstone, an original essay by the artist, a contribution from art historian Anna Lovatt and an introduction by Emily Rales, cofounder and director of Glenstone Museum.

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Accompanying the artist’s first major US overview in 15 years, this volume celebrates over four decades of Wall’s uncanny everyday dramas Vancouver-based artist Jeff Wall (born 1946) has been making arresting, conceptually and politically complex pictures for over four decades. Using large-format photography that embraces both the deliberateness of painting and the immediacy of the moving image, he is known for immersive, sharply detailed scenes featuring figures enacting everyday dramas. Departing from the convention of street photography and its aspirations of authenticity, Wall instead favors the artificial and the cinematic; he meticulously plans and constructs his pictures, scouting locations, casting actors as subjects and organizing the shoots with the rigor of a movie production. Jeff Wall accompanies the artist’s monographic exhibition at Glenstone, a survey of works made between 1978 and 2018. It is also his largest exhibition in the US since his widely acclaimed 2007 midcareer survey at the Museum of Modern Art. Comprising nearly 30 artworks, the catalog appraises the full range of the artist’s pioneering oeuvre, from early pictures displayed in backlit lightboxes and black-and-white silver gelatin prints to more recent large-scale inkjet color prints. Jeff Wall also features an introduction by Glenstone cofounder and director Emily Wei Rales and an essay by art critic and poet Barry Schwabsky.

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