- Contemporary Art at the Gardner
- ExhibitionsPast Exhibitions
- 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
- New Works by Denise Marika
- Artists By 2012
- OpenEndedGroup photographing the sarcophagus for their project <em>Knights Rest</em>, 2013.
- OpenEndedGroup photographing the Courtyard from the 4th floor, 2012.
- OpenEndedGroup, examining archival cases in the Long Gallery, 2012.
- OpenEndedGroup looking at photographs of the Gardner's Beacon St. interiors taken by Thomas Marr & Son, 2012.
- OpenEndedGroup looking at one of Isabella Stewart Gardner's guest books in Archives, 2012.
- OpenEndedGroup working in the Titian Room, 2012.
- OpenEndedGroup working in Early Italian Room, 2012.
OpenEndedGroup comprises three digital artists—Marc Downie, Shelley Eshkar, and Paul Kaiser—whose pioneering approach to digital art frequently combines three signature elements: non-photorealistic 3D rendering; the incorporation of body movement by motion-capture and other means; and the autonomy of artworks directed or assisted by artificial intelligence.
Their artworks span a wide range of forms and disciplines, including dance, music, installation, film, and public art. In the field of dance, they have worked most closely with Merce Cunningham (Hand-drawn Spaces, 1998; BIPED, 1999; and Loops, 2001-8), but also with Bill T. Jones (Ghostcatching, 1999 and 22, 2005), Trisha Brown (how long does the subject linger on the edge of the volume, 2005), and Wayne McGregor (Choreographic Language Agent, 2007-present, and Stairwell, 2010).
Their public artworks include Pedestrian (multiple sites, 2002); Enlightenment and Breath (Lincoln Center, 2006 and 2007), Recovered Light (York Minster, 2007), and Crossings (Nuit Blanche/Royal Ontario Museum, 2010).
In recent years OpenEndedGroup has created new approaches to 3D projection, which has resulted in works of digital cinema such as Upending (2010) and All sides of the road (2012); the shorter installations After Ghostcatching (with Bill T. Jones, 2010), Stairwell (with Wayne McGregor, 2010), and plant (2011); the interactive installations Into the Forest (2011) and Drawn Together (2012); and the chamber opera Twice through the heart (with Mark Anthony Turnage and Wayne McGregor, 2011).
Among the prizes they have won individually or collectively are a Guggenheim Fellowship, the John Cage Award from the Foundation for Contemporary Arts, a Media Arts Fellowship from the Rockefeller Foundation, and a Bessie award for the BIPED decor.
They have presented their work at Lincoln Center, the New York Film Festival, the Barbican Center, the Hayward Gallery, ICA Boston, Sadler’s Wells, the Festival d’Automne, the Sundance Film Festival, the Detroit Institute of Art, the Rome Film Festival, the Museum of the Moving Image, SITE Santa Fe, EMPAC, MASS MoCA, the MIT Media Lab, ICA London, Jacobs Pillow Dance Festival, the Centre for Contemporary Art (Glasgow), the Kiasma museum, and other venues.
OpenEndedGroup has had artists’ residencies at the Isabella Stewart Gardner Museum, the University of Michigan, EMPAC, Le Fresnoy: studio national des arts contemporains, Georgia Tech, Arizona State University, Harvard University, Columbia University, the MIT Media Lab, the Brooklyn Academy of Music/Bell Labs, and UC: Irvine.
Over the course of their five weeks residency, the three digital artists of OpenEndedGroup immersed themselves not only in the collection but in the intricately arranged spaces of the Museum. Using advanced techniques that allow them to capture 3D objects and spaces by means of exhaustive photographing (some 24,000 photographs over the course of their residency), they created a special renderer that enables them to create 3D sequences in a variety of styles more akin to painting and drawing than to the usual photorealistic 3D of mainstream filmmaking.
Downie, Eshkar and Kaiser also spent time in the archives looking at Isabella Stewart Gardner’s guest books, the building blueprints and inventories. They read correspondence between Gardner and Olga Monks, Ralph Curtis, and Thomas Wittemore and viewed several books from her personal library including a copy of Dante, Alighieri, La Divina Commedia that was given to her by Clayton Johns and an Italian and English dictionary.
They worked on three projects during their weeks at the Gardner. One work is already complete: Knight's Rest is a meditative encounter with the Museum's Spanish Chapel, a five-minute 3D film that derives from a single camera pass through the space. The accompanying piano score is a contemporary revisiting of sonatas by Domenico Scarlatti by their collaborator Jaroslaw Kapuscinski, who composed the work on a piano in the Tapestry Room.
A second work, Maenads and Satyrs, explores the Roman Sarcophagus in the Museum's Courtyard. A 3D film conceived for three screens, the work brings the viewer close the extraordinary figures frozen in motion in the stone. The imagery not only brings the sarcophagus to a new kind of life, but it also evokes the history of Western painting, which this kind of artifact influenced so deeply, from the Renaissance to Cezanne.
The third work is the most ambitious. Saccades draws on captured spaces and objects throughout the Museum, with the aim of suggesting the intricate web of connections not only between the paintings and sculptures, but also the chairs, windows, doorways, and room spaces. The 3D film will navigate the Museum not the way a physical visitor does but rather the way a mind might as it follows its path of associations.
Marc Downie, Shelley Eshkar and Paul Kaiser will return to the Gardner on October 3, 2013 and in the spring of 2014 to present these works in Calderwood Hall.
March 6, 2014, 7 pm
Saccades is an ambitious 3D film that navigates the Museum unlike a person, but rather as a mind might follow its path of associations.
October 3, 2013
OpenEndedGroup presented work inspired by their 2012 residency at the Gardner Museum. Using advanced techniques, they captured 3D objects and spaces by means of exhaustive photographing (some 24,000 photos), creating 3D sequences more akin to painting and drawing than to mainstream filmmaking.