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Hospitality in Contemporary Art: Color Plates

Hospitality in Contemporary Art

Color Plates

Color Plates

Card stock with red lettering.

Plate 1. Ana Prvački, Let us not be naive about the power of hospitality, 2012. The form of each card could indicate a message, a gift, or a greeting card. Photograph by Ana Prvački.

Small theater setting with a woman sitting in a chair lit from above. An audience sits on the wood floor around her.

Plate 2. Faith Wilding performs Waiting at Womanhouse, Los Angeles, California, 1972. Photograph by Lloyd Hamrol.

A room in a library with books on shelves, two long wood study tables, and glass walls on either side. A large bird cage sits atop on of the tables, and there are four people visible, seated about the room on small couches.

Plate 3. Lee Mingwei, Living Room 2, The Richard E. Floor Living Room, 2012. Designed by Renzo Piano Building Workshop in conversation with 1999 artist-in-residence Lee Mingwei. Photograph copyright Isabella Stewart Gardner Museum, Boston.

A small group speaking inside a building with glass walls.

Plate 4. Living Room host Zoe Strauss engages her guests in conversation, March 2016. The Richard E. Floor Living Room, 2012. Photograph copyright Isabella Stewart Gardner Museum, Boston.

An image made up of a series of twelve images: three rows of four images each. Each element is a closeup of a transgenic rat: mouth, paws, ears, body.

Plate 5. Kathy High, HLA-B27, 2008. This photographic series features intimate, close-up images of the transgenic rats that participated in the two iterations of Embracing Animal.

A living room with white walls and furniture. A small wooden coffee table and pet bed are also visible, as are various domestic items: handbag, clock, nicknacks.

Plate 6. Mithu Sen, It’s Good to Be Queen, 2006, a site-specific residency project for Bose Pacia Gallery, New York. Queen’s Durbar Hall, installation in living room.

A dress hanging in a window with hair flowing down within the center of the garment.

Plate 7. Mithu Sen, Grave Garment, in It’s Good to Be Queen, 2006. Lace and satin dress, hair, coat hangers, safety pins, and paper; 84 × 42 inches. This haunting and harrowing view of a colorful dress with hanging long black hair attached to it is in response to a note about her hair left for the artist by the apartment’s owner.

A film still depicting a room with a blue color scheme. The focus is on a video monitor showing a woman dressed in white beside a road with a sign reading “Gorizia”; the caption reads “An artist’s provocation. Hitchhiking the roads of the world.”

Plate 8. Joël Curtz, La Mariée (The Bride), Le Fresnoy Production, 2012. This still from the documentary film about the project Brides on Tour by Italian artists Pippa Bacca and Silvia Moro shows a television image of Pippa Bacca hitchhiking with a sign showing her destination, just before she disappeared in Turkey.

A film still depicting a room with a blue color scheme. The focus is on a video monitor showing two people dressed in white standing beside one another; they are both smiling.

Plate 9. Joël Curtz, La Mariée (The Bride), Le Fresnoy Production, 2012. The two artists Silvia Moro and Pippa Bacca smile in a television image during their journey/performance Brides on Tour.

A diptych showing two figures in medieval garb: on the left a woman with a crown; on the right a bearded nobleman. German text floats over both components of the image.

Plate 10. Ken Aptekar, Carlebach Küchentuch #6, 2015. Oil and linen mounted on wood, sandblasted glass, bolts; 100 × 200 cm (diptych), in Nachbarn/Neighbours, Kunsthalle St. Annen, Lübeck, Germany, 2016. This painting by Aptekar tells the story of the Carlebach family, who perished in the Holocaust, and their towel that was returned to a survivor by a relative of the neighbors who had secretly given them food. The English translation is “A woman approaches the guest of honor. ‘Our parents were neighbors. I brought you something that belongs to you,’ she says, and hands him the monogrammed kitchen towel.” Photograph by Linn Underhill.

A painting depicting a beach scene with a low concrete structure in the foreground and an island shadowed in the background.

Plate 11. Edi Hila, Hospitality, 2001. Oil on canvas, 180 × 121 cm. This painting, presented at the documenta 14 exhibition in Athens, Greece, speaks to the hosts’ ambivalent anticipation: they wait for those arriving from the sea, be they strangers or long-lost friends. Photograph by Jens Ziehe.

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This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Michigan’s College of Literature, Science, and the Arts and the Provost Office. Learn more at the TOME website, available at: openmonographs.org.

The University of Minnesota Press gratefully acknowledges financial support from the University of Michigan’s Office of Research and the Penny W. Stamps School of Art and Design.

Excerpts from Faith Wilding, Wait-With are reprinted with permission.

Gabeba Baderoon, “I Cannot Myself” is reprinted with permission.

Portions of chapter 2 were previously published as “The One Who Waits,” in Faith Wilding’s Fearful Symmetries, ed. Shannon R. Stratton with Faith Wilding (Bristol and Chicago: Intellect, 2018), 113–40; reprinted with permission. Portions of chapter 4 were previously published as “Thou Shall Not Harm All Living Beings: Feminism, Jainism, and Animals,” Hypatia: A Journal of Feminist Philosophy 27, no. 3 (2012): 636–50; reprinted with permission. Portions of chapter 6 were published as “Baiting Hospitality,” in Security and Hospitality in Literature and Culture: Modern and Contemporary Perspectives, ed. Jeffrey Clapp and Emily Ridges (London: Routledge, 2015), 64–77; reprinted with permission.

Copyright 2020 by Irina Aristarkhova

Arrested Welcome: Hospitality in Contemporary Art is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/by-nc-nd/4.0/.
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