Sharon Lockhart Noa Eshkol
Published by Thyssen-Bornemisza Art Contemporary 2012
Edited by Daniela Zyman and Eva Wilson with essays by Walead Beshty, Ramsay Burt, Ifat Finkelman, Martina Leeker, Steve Paxton, Howard Singerman, Noémie Solomon, Eva Wilson, Daniela Zyman and texts from the Noa Eshkol Foundation.
The catalog Sharon Lockhart | Noa Eshkol accompanies the eponymous exhibition at TBA21―Augarten in Vienna by Sharon Lockhart (November 23, 2012–February 24, 2013) which consists of a complex installation of videos, photographs, and archival material, composing a subtle and sensuous portrait of the Israeli choreographer, dancer, researcher, and textile artist Noa Eshkol (1924–2007). The book features nine essays, installation photographs of the works on show, film stills, archival material from the Noa Eshkol Foundation (notations, journals, notes), and wall carpets by Noa Eshkol.
Sharon Lockhart Noa Eshkol
Published by Prestel, 2012
Edited by Stephanie Barron and Britt Salvesen with contributions by Talia Amar, Stephanie Barron and Britt Salvesen, Eva Díaz, Sabine Eckmann and Sharon Lockhart, and Michal Shoshani.
Since the 1990s, Lockhart has used film and photography to memorialize specific, quotidian moments in particular communities. She discovered Eshkol’s groundbreaking work during a 2008 residency in Israel. Eshkol (1924–2007) is best known for developing in the 1950s, with architect Avraham Wachman, the Eshkol-Wachman Movement Notation system, which uses a combination of symbols and numbers to define the motion of any limb around its joint, and which is the basis for Eshkol’s dance practice. Lockhart filmed Eshkol’s aging students and a newer generation of dancers performing her dance compositions in an effort to bring to light her visionary work. Published to accompany the exhibition Sharon Lockhart | Noa Eshkol, the book documents what is conceived as a two person exhibition, presenting Lockhart’s five-channel film installation and series of photographs of EWMN spherical models together with a selection of Eshkol’s wall carpets, scores, drawings, and other archival materials.