During the time she spent reacquainting herself with Paris upon returning from her travels, Calle's artistic practice developed. She began to construct instances and engagements that explored human vulnerability. As with much of the artist's work, perhaps L'Hôtel says more about Sophie Calle than it does about the anonymous hotel visitors. It is a prime example of her contribution to Conceptual art with her mode of taking a nominal proposition and carrying it out through the production of a work. It highlights her synonymous incorporation of photography, documentary, and chance and posits the artist in a role similar to an anthropologist, seeking clues and exploring mysteries about specific specimens of humanity. This pointed study of strangers and herself would inject a "confessional" vein into the world of Conceptual art, in which personal lives and their ephemera were considered worthy fodder for exploration. A similar strategy was adopted by other contemporary women artists, perhaps most notably, Tracey Emin. Stepping into the main section of the room was like stepping into a contemporary novel. The walls were systematically covered from floor to ceiling in the responses from the women who participated. Craning my head up towards the high ceiling, I was overwhelmed with the quantity and intensity of the responses. Beneath each profession, Calle incorporated their ideas of love, subtlety of language and identity through photography, installation, writing and video. I go to make some coffee, forget to put coffee in the machine, try again. While the journalist pulls a notebook from his bag I have another go at the kitchen floor. I’m not paranoid, I assure him. Or obsessive-compulsive, he says. I ask if he intends to write our conversation up as a set of questions and answers. I dislike that style; when I read these interviews, I never know myself: it’s not my language. He says his preference is for a proper narrative, though the magazine sometimes favours the Q&A approach. We can always pretend, I tell him, that I insisted on a real text, that that was the first rule of the game. He laughs, says it won’t be necessary: he will find a form.

This led to another fixation. "The obsession of always having a tape in the camera, changing the tape every hour, was so great that instead of counting the minutes left to my mother, I counted the minutes left on each tape." In this "double game," through Maria we get to know Sophie. The book is another example of Calle using a starting point based on a rule. This is her best selling art book, and it links to Conceptual Writing, a contemporary movement in which texts, often appropriated texts, may be reduced, through a concept or idea to a set of procedures, a generative instruction, or a conceptual constraint. Artists that work in Conceptual Writing include Kenneth Goldsmith, Diana Hamilton, and Caroline Bergvall. Dallow, Jessica, "CALLE, Sophie: French photographer and installation artist," Contemporary Women Artists. St. James Press, 1999.In Take Care of Yourself, the artist invited different professionals to interpret the letter, each from the point of view of their field of expertise. Altogether, she gathered 107 conclusions drawn by women in the fields of journalism, style correction, acting, singing, dancing, philosophy, and psychoanalysis, among many others. Program of the festival Centre Pompidou in the State Hermitage Museum. Hermitage 20/21 Project. October/November 2010

For Artspace Auctions winning bidders are charged a 15% Buyer's Premium on top of the hammer price. Eva Wiseman (2 July 2017). "Sophie Calle:'What attracts me is absence, missing, death...' ". The Observer . Retrieved 11 September 2017. NERI: Nonverbal meaning performance, like the Indian classical dancer, the Bunraku, and the ballerina?

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urn:oclc:record:1359391282 Foldoutcount 0 Identifier takecareofyourse0000call Identifier-ark ark:/13960/s27ksc4x23x Invoice 1652 Isbn 2742768939 Does the man in question know about the project? Yes, of course; I told him. He liked the idea, though it’s a little frightening for him. Anyway, he couldn’t imagine stopping me. He is a man of some intelligence and resourcefulness; he’s far from feeble. He can reply if he likes, and in public too. Also, he has a sense of humour. Take Care of Yourself’ (2007) in which musician Laurie Anderson was one of 107 women who responded to a note left by Calle’s ex-boyfriend. Photograph: Sophie Calle/Adagp, Paris & ARS, New York, 2017, Courtesy Paula Cooper Gallery, Fraenkel Gallery and Galerie Perrotin As you have noticed, I have not been quite right recently. As if I no longer recognized myself in my own existence. A terrible feeling of anxiety, which I cannot really fight, other than keeping on going to try and overtake it, as I have always done. When we met, you laid down one condition: not to become the “fourth”. I stood by that promise: it has been months now since I have seen the “others,”because i obviously could find no way of seeing them without making you one of them. After reading the novel, Calle decided, in a characteristic mixing of reality and fiction, to respond by literally embodying the fictional Maria and to recreate parts of the character per the novel. Calle then photographed these recreations for her book Double Game, including Maria's "chromatic diet." In the book she wrote, "To be like Maria, during the week of December 8 to 14, 1997, I ate Orange on Monday, Red on Tuesday, White on Wednesday, and Green on Thursday. Since Paul Auster had given his character the other days off, I made Friday Yellow and Saturday Pink." The photograph in the book for Saturday shows a meal of ham, taramasalata, and strawberry ice cream with rosé wine from Provence.