ANY HOUSE IS A HOME_PEM_11, Peabody Essex Museum, Salem 2011 – 2012
ANY HOUSE IS A HOME_PEM_11, 2011, installation commissioned by PEM for its ongoing exhibition series FreePort [No. 002]
ROSELAND, 2011, victorian historic paint color, 1840-1900, latex acrylic eggshell finish
UNTITLED (FÄCHERTREPPE), 2010, c-print, 110 x 166 cm, UNTITLED (FIREPLACE), 2010, c-print, 110 x 166 cm
WHITE PEARLESCENT, 2011, artistic acrylic polymer medium and PANTONE 524U, 2011, standardized color reproduction system, latex acrylic eggshell finish
UNTITLED (SALEM HOUSE), 2010, gelatin silver print, 58 x 89 cm, UNTITLED (COUNTERBALANCE SAMUEL GRAGG), 2010, c-print, 58 x 89 cm
PORTRAIT (CARRIE BUCKLES), 2010, HD video, 7 min 22 sec (loop)
Chest-on-chest, 1768-1774
BULFINCH BLUE, 2011, 20th century historic paint color, 1900-1955, latex acrylic eggshell finish
UNTITLED (BLUE SOFA FROM THE BACK), 2010, c-print, 58 x 89 cm
Sofa, carving by Samuel McIntire, 1805-1810
BOLD BOLECTION, 2011, colonial historic paint color, mid 1600s-1780, latex acrylic eggshell finish and FARMHOUSE OCHRE, 2011, colonial historic paint color, mid 1600s-1780, latex acrylic eggshell finish
UNTITLED (STILL LIFE WITH CIRCLES), 2010, gelatin silver print, 40 x 60 cm
Drop-leaf Table, Cohasset Colonials, modern reproduction
TORY BLUE, 2011, colonial historic paint color, mid 1600-1780, latex acrylic eggshell finish
Looking glass “Waller House, Salem, 1630”, early 1900s and looking glass “Old Witch House, Salem 1634”, early 1900s
Display case, early 1900s, with lamps and candlesticks, ca. 1850, vases and lamps New England Glass Company, ca. 1850, candlesticks, lamps and vases Boston and Sandwich Glass Company, ca. 1850, spoon holder, ca. 1850, salt cellar, ca. 1850, pitcher, mid 1800s, cologne bottle, ca. 1860
MONUMENT, 2011, structure (design Johnston Marklee Architects Los Angeles) including color inkjet prints by Marianne Mueller and selections from the PEM photograpy collection
LUCINDA, 2011, federal period historic paint, 1780-1830, latex acrylic, eggshell finish and LYMAN CAMELLIA, 2011, federal period historic paint color, 1780-1830, latex acrylic, eggshell finish
UNTITLED (STREET UPHOLSTERY), 2010, c-print, 119 x 79 cm, UNTITLED (WHITE COLUMN), 2010, c-print 180 x 119 cm
Candle stand, 1770-1785, stand for christening basin, 1600s, Windsor arm chair, late 1700s
BROOKSIDE, 2011, federal period historic paint color 1780-1830, latex acrylic eggshell finish, gelatin silver print (UNTITLED (QUIET PLEASE), 2008, 167 x 111 cm), Sofa, attributed to Nathaniel Safford, carving by Samuel McIntire
STAGECOACH, federal period historic paint color 1780-1830, latex acrylic eggshell finish, HD video (PORTRAIT (BLETA JAHAJ) 2010, 9 min 20 sec, loop), card table, ca. 1800, card table Michael Titcomb, 1790-1810
PANTONE PROCESS/ MAGENTA C, 2011, standardized color reproduction system, latex acrylic eggshell finish and PANTONE PROCESS/YELLOW M, 2011, standardized color reproduction system, latex acrylic eggshell finish
UNTITLED (MAN WITH PLASTIC BAGS, LONDON), 2008, gelatin silver print, 119 x 89 cm, UNTITLED (DARK RED COLUMN), 2010, c-print 119 x 79 cm, UNTITLED (CROWNINSHIELD-BENTLEY STAIRS), 2010, c-print, 91 x 61 cm
Corner chair, 1700s, arm chair, late 1600s, arm chair, early 1700s, chair, 1700s
TAILOR'S BUFF, 2011, colonial historic paint color, mid 1600s-1780, latex acrylic eggshell finish, HD video (PORTRAIT (RACHEL TONTHAT), 2010, 1 min 56 sec, loop)
BARGEBOARD BROWN, 2011, victorian historic paint color, 1840-1900, latex acrylic eggshell finish
Display case, early 1900s, “elastic” chair, Samuel Gragg, ca. 1808
VENETIAN GLASS, 2011, 20th century historic paint color, 1900-1955, latex acrylic eggshell finish, c-print (UNTITLED (SEA SHELL), 2010, 109 x 165), sewing table, 1800-1810, tea table, early to mid 1700s
POP ART, 2011, post modern paint color 1960-1980, latex acrylic eggshell finish and ANDOVER CREAM, 20th century historic paint color, 1900-1955, latex acrylic eggshell finish
UNTITLED (ONE AND A HALF), 2008, gelatin silver print, 165 x 109 cm, UNTITLED (WHITE SKIRT), 2008, gelatin silver print, 165 x 109 cm, UNTITLED (FLORENCE STATION), 2007, gelatin silver print, 165 x 109 cm, bottom: UNTITLED (STIEFELGOLD GEBLITZT), 2006, c-print, 58 x 38 cm, UNTITLED (SCHNALLENSCHUHE), 2008, gelatin silver print, 58 x 38 cm, UNTITLED (KILT HOSE), 2008, gelatin silver print, 58 x 38 cm, UNTITLED (JIMMY RAYES), 2010, c-print, 38 x 58 cm, UNTITLED (WAITING), 2007, gelatin silver print, 38 x 58 cm
Shoe case I: shoes, 1890s, shoes H.H. Tuttle and Company, 1880s, boots Stacey Adams Co., late 1800s, shoes Joseph Antell, 1940s, shoes Air Step, 1955-65, shoes C. Middleton, 1830s, shoes Urbanities, 1960s, shoe case II: shoes Anton Donelli, 1960s, sneakers, 1990, shoe Hazen B. Goodrich and Company, 1876, shoes Colormate, 1970s, boots Henry Herth, mid-1800s, shoes Taber Shoe Company, late 1800s
ANY HOUSE IS A HOME is a site-specific installation commissioned by the Peabody Essex Museum (PEM). In the gallery and on the tower, it combines historic furniture, decorative arts, shoes and photographs from the museum‘s vast storage with photographs and videos taken by Marianne Mueller in Salem or found in the artist‘s archive. The exhibition envisions a different museum that would follow the intuitive grammar of perception and fight institutional hierarchy. Mueller collaborated with curators and their collections such as photography, Exhibitions and Research, American Decorative Art, Maritime Art and History, Fashion and Textiles, which are normally presented a part. She established a visibility for the objects different states of beeing – locked up in storage or on display. The 150 objects represent only themselves. Objects are placed in relation to each other, forcing comparisons to be made between them. Even the painted walls are alive with polarities: sometimes the paint color matches the art work, while at other times the color opposes the chosen object. By liberating objects from history, they‘re endowed with new presence, to be experienced beyond timelines and classification: A wall color is a wall color, a chair is a chair. Unexpected juxtapositions of time, place and influence examine how objects define a place, and how in return a place can define an object. See also related project PORTRAIT (GUARDS).