- Contemporary Art at the Gardner
- ExhibitionsForthcoming ExhibitionsPast Exhibitions
- Ambreen Butt: I Need a Hero
- Maurizio Cannavacciuolo: A Lecture on Martian History
- Rachel Perry: What Do You Really Want
- Charmaine Wheatley: Souvenirs
- Bharti Kher: Not All Who Wander Are Lost
- Jean-Michel Othoniel: Secret Flower Sculptures
- Nari Ward: Divination X
- Luisa Rabbia: Waterfall
- Carla Fernández: The Barefoot Designer: A Passion for Radical Design and Community
- Sophie Calle: Last Seen
- Hamra Abbas: Wall Hanging I
- Adam Pendleton: Untitled
- Raqs Media Collective: The Great Bare Mat & Constellation
- Stefano Arienti: Wild Carrot
- Luisa Lambri: Portrait
- Magic Moments: The Screen and the Eye–9 Artists 9 Projections
- (TAPESTRY) RADIO ON: New Work by Victoria Morton at the Gardner
- Points of View: 20 Years Artists-in-Residence at the Gardner
- Stefano Arienti: Ailanthus
- Danijel Zezelj: Once
- Taro Shinoda: Lunar Reflections
- Su-Mei Tse: Floating Memories
- Luisa Rabbia: Travels with Isabella, Travel Scrapbooks 1883/2008
- Cliff Evans: Empyrean
- Stefano Arienti: The Asian Shore
- Sculpture and Memory: Works from the Gardner and by Luigi Ontani
- Henrik Håkansson: Cyanopsitta spixii Case Study #001
- Michele Iodice: A Pagan Feast
- Variations On a Theme by Sol Lewitt and Paula Robison
- Danijel Zezelj: Stray Dogs
- Dayanita Singh: Chairs
- Maurizio Cannavacciuolo: TV Dinner
- Elaine Reichek: madamimadam
- Joseph Kosuth: Artist, Curator, Collector
- Nari Ward: Episodes: Bus Park & Forevermore
- Manfred Bischoff
- Ackroyd & Harvey: Presence
- Laura Owens
- Joan Bankemper: A Gardener's Diary
- Lee Mingwei: Living Room
- Josiah McElheny
- Abelardo Morell: Face to Face
- Mona Higuchi: Bamboo Echoes
- Juan Muñoz: Portrait of a Turkish Man Drawing
- Denise Marika: New Works by Denise Marika
- Dorit Cypis: The Body in the Picture
- Artists By 2016
- Wheatley sketching in the Textile Conservation Lab, 2012.
- Wheatley sketching a pair of Isabella Gardner's shoes in the Textile Conservation Lab, 2012.
- Wheatley's Gardner Museum studio, 2012.
- Charmaine Wheatley and Textile Conservator Tess Fredette looking at clothing in the Gardner's collection, 2012.
- A dress fitting: Charmaine Wheatley prepares for an upcoming performance at the Mills Gallery, Boston, 2012.
2012, 2014, 2015, 2016
Charmaine Wheatley is a performance artist who creates stories by drawing and watercoloring, often housing her collected drawings in pocket-sized metal boxes. She has published three books: Beau Fleuve: The Heart of North America (2006), 30% of Buffalo (2009), and Brett's Ball (2014). Wheatley's latest, a full color 48-page comic with rubber-stamped details celebrates Canadian abundance while making visual the importance of "downtime" in the workplace. In addition, her drawings have appeared in publications such as Border Crossings, FUKT, and C Magazine.
Wheatley has performed at the Mills Gallery, Boston (2012), and has exhibited at Buffalo Arts Studio Galleries I & II, Buffalo, New York (2009); HQ Gallery, Brooklyn (2007); the Carnegie Art Center in Buffalo (2006); AKA Gallery in Saskatoon, Saskatchewan (2005); Gallery 111, Winnipeg, Manitoba (2001); drivedrive.com, Amsterdam (2000); and throughout Halifax, Nova Scotia (1997).
Between 2002 and 2005, Wheatley collaborated with DJ/sound artist, Taketo Shimada on performance projects based on “Charmaine”, written and composed by Erno Rapee in the 1920’s. The work involved printed matter, sound, and functional sculptures, and was presented in Toronto and in New York at the Whitebox Gallery, SubTONIC, the Emily Harvey Gallery, 725 Washington Street, the Knitting Factory, and at New York University.
Since graduating from the Nova Scotia College of Art and Design in 1995, Charmaine Wheatley has received grants from the Canada Council for the Arts, and has been an artist in residence at the Gardner Museum (2012); Pace University, New York (2010); the Seven Below Arts Initiative, Vermont (2008); and Confederation Centre for the Arts/Parks Canada on Prince Edward Island (2007). Her work is held in international and library collections, including The Museum of Modern Art, New York. Since June 2012, Wheatley has based her practice of performance, sculpture, painting, drawing and writing in Newfoundland, Canada, a shift made possible from a generous award from the Canada Council for the Arts.
Following the release of Brett’s Ball and an August 2014 performance—What Is The Role Of Women?, which involved a large taxidermied sculpture, costumes and printed matter—Wheatley is currently preparing her upcoming exhibition of works on paper at the Gardner Museum.
Charmaine Wheatley spent the month of April living in one of the museum’s new apartments and working in the studio. Most mornings she could be found in the historic courtyard with her miniature watercolor kit capturing moments: the hanging nasturtiums; works of art; shadows and atmosphere; gallery officers. While in the Long Gallery, Wheatley discovered a small ivory carving of the Mother and Child from the workshop of Jean I Limousin (ca. 1561-1610) which she painted and renamed “spaghetti arm Jesus.” In the Yellow Room, works by Whistler, Isabella Gardner’s hand-written music programs, and a collection of caricature post cards caught her eye. She also spent time in the textile conservation lab sketching and painting a variety of garments and a pair of shoes. Wheatley made several trips to the archives were she looked at Gardner’s guest books, watercolor and sketch books from 1869-1870, photographs of Gardner and her friends, and a seal that Gardner used for her correspondence. Wheatley also read letters written to Gardner by John Singer Sargent and Matthew Prichard. She quickly adopted the latter as her “19th century boyfriend” because of his poetic vocabulary, his drawings, and dapper good looks.
During the month Wheatley also explored Boston on bike. She attended Isabella Gardner’s annual memorial service, visited with staff from all departments, and even organized a drawing circle in her studio. A trip to Lynn yielded Victorian dresses and slips, which she learned to repair under the tutelage of a textile conservator. In addition, Wheatley had a dress fitting for a Victorian era dress that was being specially fabricated for the performance Moon Pie at the Mills Gallery, Boston.