Sharon Lockhart, 213 Glazes: Josep Llorens Artigas, Joan Miró and Joan Pere Català Roig, Fundació Pilar i Joan Miró a Mallorca
The hundreds of color samples, each unique and nearly impossible to replicate, become a sequence in Lockhart’s new work, entitled 213 Glazes: Josep Llorens Artigas, Joan Miró and Joan Pere Català Roig, Fundació Pilar i Joan Miró a Mallorca. Its title is replete with ebbs and flows of time, generations and practices, the connections between which are concisely, albeit not exhaustively, enumerated. Here, Lockhart encapsulates a conversation that comes together by way of 213 small fragments measuring no more than five centimeters tall. They form a continuous row of glaze samples spanning the color spectrum in a single image—a tracking shot, the ordered rhythm of which contains echoes of her structured, measured films.
James Benning and Sharon Lockhart, Over Time
Published by Inventory Press 2022 Designed and Edited by Martin Beck
American artists James Benning (b. 1942) and Sharon Lockhart (b. 1964) often cite each other’s films as an influence on their own work. Benning and Lockhart have each made careers of investigating the structure of film itself and rethinking the use of duration and sound. Both artists’ work illustrates the importance of close observation and the evolving urban landscape.
Over Time pairs works from both Benning and Lockhart with a collaborative, almost stream-of-consciousness text. The result is a profound conversation between two accomplished artists that highlights how slow, studied examination and reflection can deepen and enrich often overlooked, everyday experience.
Sharon Lockhart, History Paintings 2020 - 2021
Published by neugerriemschneider 2022 Designed by Yanchi Huang Text by Lane Relyea
Sharon Lockhart, Pine Flat
By Howard Singerman Published by Afterall Books, 2019 Part of the One Work book series
Sharon Lockhart’s Pine Flat (2005) foregrounds a small community of children living on a western slope of the Sierra Nevada Mountains. Produced with and alongside the community over several years, this complex work makes reference to the history of painting, photography and film to present distinct images of childhood.
Opening up the story of both the work and the community, Howard Singerman argues that Pine Flat employs the pastoral as a way of demonstrating and sustaining the children’s agency. The work, Singerman contends, offers a pace where the community holds the right to its images; a space where its interests are removed from adult narratives, fears, and desires. In this expansive study, we discovery the transitory moments where childhood might be imagined under an alternative order of power and possibility.
Sharon Lockhart, Rudzienko
Published by the Arts Club of Chicago in conjunction with Lockhart’s exhibition there. The design of this highly considered publication includes numerous fold out pages featuring work by Lockhart along with research images. Includes a text by Janine Mileaf, the exhibition’s curator.
Sharon Lockhart, Rudzienko
Edited by A.E. Benenson and Sasha Bergstrom-Katz with contributions by Inesa Brašiškė, Suzanne Hudson, and A.E. Benenson Published by the Contemporary Art Centre, Vilnius
Over the past ten years, Sharon Lockhart has produced an interconnected series of films and photographic works through her collaboration with a community of young women in Poland. Published in conjunction with her exhibition at the Contemporary Art Centre, Vilnius, this book closely studies two significant components of Lockhart’s work across Poland—the film Rudzienko (2016), which Lockhart created over three years, as well as the workshops Lockhart conducted with the young women. These workshops, aimed at empowering their senses of agency, freedom, and creativity, were fundamental to the making of Rudzienko, and more broadly, to Lockhart’s ongoing engagement with them. For the first time, this publication provides in-depth views of the methodologies and frameworks of the workshops that Lockhart and her collaborators organized, as well as a visual archive of the workshops and related research material.
Sharon Lockhart, Milena Milena
Published by Silvana Editoriale 2015
Edited by Jane Neidhardt with contributions by George Baker, Fanni Fetzer, Lars Bang Larsen, Camilla Larsson and Frances Stark.
Sharon Lockhart’s most recent body of work revolves around conditions of childhood. The project was inspired in part by the life and work of Polish-Jewish pedagogue Janus Korczak, whose radical philosophies were among the first to empower the often-disregarded voice of the child. At the heart of Lockhart’s work is her friendship with Milena, a young Polish woman whom she first befriended in 2009 during the production of her film Podwórka in Łódź, Poland. Lockhart’s longterm work with Milena has mapped the trajectory of a small girl’s maturation into an adolescent and now young adult, serving as a site of mutual discovery and revelation. This volume is a further iteration of this collaboration which was also the subject of a trilogy of exhibitions at the Center of Contemporary Art, Warsaw, Bonniers, Konsthall, Stockholm, and Kunstmuseum Luzern.
Sharon Lockhart: LUNCH BREAK lll
Published by Mildred Lane Kemper Art Museum 2013
Edited by Jane Neidhardt with contributions by Sabine Eckmann, Elizabeth Finch, Neus Miro, Katy Siegel
Sharon Lockhart: Lunch Break III is the third volume in a series examining the work of acclaimed video artist and photographer Sharon Lockhart. Known for collaborating with remote or marginal communities such as blue collar workers of the twenty-first century, as she did in Sharon Lockhart: Lunch Break I, the artist also blurs the line between photography, video art, and documentary. The results are simultaneously staged and artificial, yet at the same time intimate and deeply human. Her newest museum installations also incorporate artworks and utilitarian objects made by others, expanding upon earlier forms of institutional critique. This book includes essays by curators and scholars who provide an international perspective on the artist’s evolving series. Stunningly illustrated, Sharon Lockhart: Lunch Break III serves as a reminder of the power and beauty of Lockhart’s art.
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.
Sharon Lockhart: Lunch Break II
Published by Vereinigung Bildender KünstlerInnen Wiener 2011
This book evolved from an archive of images collected by artist Sharon Lockhart while researching her project Lunch Break—a series of films and photographs she produced from a long-term collaboration with the workers of Bath Iron Works in Maine, whom she portrayed as they took their lunch break, a classic workday ritual. A companion volume to that project, this publication offers a stunning array of images drawn from a variety of sources, including WPA documentary photographs, Old Master oil paintings, contemporary art, and photographs by Lockhart herself. The result is a rich visual narrative that explores the pursuit of leisure in the context of work.
Sharon Lockhart: Lunch Break
Published by Mildred Lane Kemper Art Museum 2010
American artist Sharon Lockhart is well known for her formally strict and conceptually precise films and photographs. Lunch Break, her newest solo exhibition, is the product of more than a year spent at the Bath Iron Works shipyard in Bath, Maine, observing and engaging with shipbuilders during breaks from their daily routines. The resultant two film installations and three series of photographs present images that are devoid of sentiment yet deeply humane, intimate in their focus on everyday situations while reflective of broader global conditions through their historically grounded approach. To accompany the exhibition, this catalog from the Mildred Lane Kemper Art Museum includes over one hundred images in full color, essays by exhibition curator Sabine Eckmann and art historian Matthias Michalka, and an interview with Lockhart conducted by filmmaker James Benning.
LUNCH BREAK TIMES I (2010)
Published by San Francisco Museum of Modern Art 2010
Artist's book in newspaper format.
Published in conjunction with an exhibition held at the Mildred Lane Kemper Art Museum, St. Louis, Mo., Feb. 5-Apr. 19, 2010; Colby College Museum of Art, Waterville, Me., July 16-Oct. 17, 2010; and the San Francisco Museum of Modern Art, Oct. 15, 2011-Jan. 16, 2012.
LUNCH BREAK TIMES II (2010)
Published by San Francisco Museum of Modern Art 2010
Artist's book in newspaper format.
Published in conjunction with an exhibition held at the Mildred Lane Kemper Art Museum, St. Louis, Mo., Feb. 5-Apr. 19, 2010; Colby College Museum of Art, Waterville, Me., July 16-Oct. 17, 2010; and the San Francisco Museum of Modern Art, Oct. 15, 2011-Jan. 16, 2012.
Pine Flat
Published by Charta 2006
available at Charta
In the film and photographic series Pine Flat constructed over a three year period, Sharon Lockhart addresses the experience of an American childhood, using the stunning landscape of America's Sierra Nevada Mountains to bring home the close relationships of children with their natural surroundings. Lockhart began by constructing a portrait studio in a small rural community, and extending an open invitation to local children, and then by immersing herself in their environment and noting the complexity of their interactions. Her highly descriptive, almost painterly portraits, taken over the course of several years, abjure narration for the pleasure of the gaze and the notion of temporality. The studio remains a constant, its black backdrop, cement floor and natural lighting; a theatrical setting that allows the children to develop a different kind of relationship to the camera. Those stills stand in stark contrast to the pictorialism of a series showing the community's majestic natural surroundings, and to the portraits on 16mm film that accompany them, which are both literally and figuratively moving.
Sharon Lockhart, Pine Flat
Published by Berlin: Revolver 2006
Catalog of an exhibition held at Sala de Exposiciones Rekalde Erakustaretoa, Dec. 14, 2005-Feb. 12, 2006.
Stuff I Like
Vinyl album, 33 1/3 rpm
2005
Produced by Sharon Lockhart and Becky Allen. Engineered by Jake Davies.
Sharon Lockhart
Published by Museum of Contemporary Art, Chicago 2001
Sharon Lockhart's photographs and films frame the quiet moments and details of everyday life while exploring the subtle relationships between photography and cinema. Much of her photographic work over the past six years has relied on the staging of scenes characteristic of filmmaking; her work has also investigated issues of time, sequence, and narrative in a manner reminiscent of conceptual art. Lockhart's films emphasize the photographic basis of the moving image, often using a fixed perspective to capture unexpected movements and human reactions in a given situation. This catalogue documents the largest and most significant solo exhibition of Lockhart's work in an American museum to date, and focuses on Lockhart's photographic and cinematic work since 1994, including her major film projects Goshogaoka(1997) and Teatro Amazonas(1999). Also featured are essays by curator Dominic Molon and art historian Norman Bryson, focusing on Lockhart's rereading of conceptual photography, and her complex approach to narrative and the gaze, respectively.
Sharon Lockhart, Teatro Amazonas
Published by NAi Publishers/Museum Boijmans Van Beuningen 2000
Taking a cinematic approach to photography, Sharon Lockhart's photographs are the result of comprehensive preparation and staging. This book presents images taken in Brazil's Amazon Basin, in a fishing village on the island of Visio and among the rubber-trappers along the river Madeira. Focusing on a balance between composing to bring out certain aspects in her subjects and capturing the natural relationships of people in their own surroundings, Lockhart's photographs explore an interesting mixture of narrative and documentary. Essays by Timothy Martin and Karel Schampers look at the photos in the context of her previous work and the anthropological significance of her working methods.
Sharon Lockhart Goshogaoka Girls Basketball Team
Published by Blum & Poe 1998 by Maria Blum with essay by Berenice Reynaud.