1
300
52
-
https://www.artistparentindex.com/files/original/a648f1d42d41ccae32662fa3a12c80da.png
dc14cf6f6d89545df81f88795d178420
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.oonahyland.com/" target="_blank" rel="noopener">Www.Oonahyland.com</a>
Medium
printmaking
sculpture
artists books
Artist Statement
<span>I'm interested in how Silence from a trauma affects the descendents of a person. Forms of epigenetic history . How memory can be erased , masked and hidden and the consequences of doing so.</span><br /><br /><span>I'm making work about the Magdalene laundries and mother and baby home. I am a child of a victim of these abusive homes in Ireland.</span>
Topic
Active Forgetting Project
memory
trauma
transgenerational trauma
mother and baby homes
Bon Secours Tuam
silence
haptic art
transparency
installation
book art
frottage
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Title
A name given to the resource
Oona Hyland
Active Forgetting Project
Bon Secours Tuam
book art
frottage
haptic art
installation
Ireland
memory
mother and baby homes
silence
transgenerational trauma
transparency
trauma
-
https://www.artistparentindex.com/files/original/e220d2abcd018fd6448f1421cc01152d.jpeg
26fe81db559e585dff942bc7d15bc4b1
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.delphahudson.co.uk%20" target="_blank" rel="noopener">www.delphahudson.co.uk</a>
<a href="http://www.delphahudsonartist.co.uk" target="_blank" rel="noopener">www.delphahudsonartist.co.uk</a>
Medium
painting
film
sculpture
performance
installation
Location
The location of the interview
Cornwall
United Kingdom
Artist Statement
<p>I paint chaotic and dystopian domestic scenes. In surreal and crowded spaces women and children gesture as if from a medieval illuminated manuscript, or an Old Master like Bosch or Michelangelo. I choreograph powerful female protagonists and situate them in new imaginary realms to challenge domestic legacies that make women and mothers invisible.</p>
<p> </p>
<p>Richly textured compositions use the fluidity of dripped bitumen with oil colour to create dynamic networks or patterns of ambiguous realism. The painting process is textual and performative, bodily creating figures that are excessive yet relatable. Small, cherubic, troublesome children embroil us in a palimpsest of narratives that question historical hierarchies and power structures.</p>
<p> </p>
<p>My practice aims to excavate lived experience and initiate new conversations about value. Art is a space to open up cultural and social signification and ask for change.</p>
Topic
caring
mothering
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<p><em>Distanced Domestic</em> exhibition by co.curation, London</p>
<a href="https://www.artistparentindex.com/items/show/606" target="_blank" rel="noopener"><em>Maternochronics: Maternal Exhausion in the Time of Pandemic</em></a>, online exhibition 2020
Publications
A catalog or monograph published by the artist
Publication of performance <em>Theatre of the Self</em> project with maternal mental health diaries
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Title
A name given to the resource
Delpha Hudson
caring
Cornwall
mothering
painting
United Kingdom
-
https://www.artistparentindex.com/files/original/5ff89dab3c3097880b393a5cafda2143.jpeg
a32f6a06b1b43181e224a4c67843f8d1
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Title
A name given to the resource
MAYDAY: distress call
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://Www.Brettegabel.com" target="_blank" rel="noopener">Www.Brettegabel.com</a>
Topic
domesticity
motherhood
postpartum anxiety
Medium
textile
quilting
sculpture
installation
Artist Statement
My artistic practice is an ongoing examination of the subtle emotional space between feelings of comfort and discomfort. Since having a child in 2015 my work has explored my anxieties as a mother. The work considers domestic space, distress calls and repetition.
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Contributor
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Brette gabel
Title
A name given to the resource
Brette Gabel
domesticity
installation
motherhood
postpartum anxiety
quilting
sculpture
textile
-
https://www.artistparentindex.com/files/original/a398b6048c10aac0c40d05421e33d014.jpg
2edf87a8be9335f82bec53be2685f4a5
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://claraalden.se" target="_blank" rel="noopener">http://claraalden.se</a>
Topic
maintenance art
maternal art
reproduction/production
Medium
video
audio
text
sculpture
drawing
installation
Artist Statement
Clara Aldén (1988) is an interdisciplinary artist based in Gothenburg, Sweden. During the last few years, her practice has revolved mainly around topics of domesticity and the maternal. Within Aldéns artistic practice, motherhood is considered a practice and not a state of being. Likewise, this practice is not considered to be limited by biological bounds. This view is inspired by Donna Haraway’s thoughts on kin-making, and even if the interest for the maternal grew out of Aldéns own experiences of motherhood, her practice stretches away from direct biological connotations and explores the practice of maternity in the expanded notion. The notion of care, regarding interruption as a positive force, and trying to work in a relational and non-autonomous manner are important maternal aspects within her work. Collaboration is another important aspect, and within her latest projects, her children have been her most important collaborators.
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Contributor
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Clara Aldén
Title
A name given to the resource
Clara Aldén
audio
drawing
installation
maintenance art
maternal art
reproduction/production
sculpture
text
video
-
https://www.artistparentindex.com/files/original/0d79a178f0e05332fad0778a10e74882.jpg
d3256290969c51dc9b20ae4c661c7b69
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="christianaupdegraff.com" target="_blank" rel="noopener">christianaupdegraff.com</a>
Topic
dichotomy of artist/mother
comfort
loss
corporeal deterioration
time
uncertainty
fear
stagnation
Medium
sculpture
metalsmithing
silicone
polyester
resin
cement
graphite
enamel
sterling silver
cotton
wool
silk
human hair
Artist Statement
It may be a result of being a vessel of comfort, or perhaps better stated; a servant of comfort, I am particularly interested in the objects of human comfort in conjunction with imagery of emptiness and decay. I am also intrigued by the interior and exterior views, and careful placement of work in a gallery setting which allows the viewer to gain access to the inside of a piece, but never fully experience or access it. These themes have been prevalent in other work, work which preceded my role of mother, but I could not fully see all of the parallels between old and new work until becoming a mother. It has made me more human. It has made me warmer. It has certainly made me more intuitive.
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Contributor
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Christiana Updegraff
Title
A name given to the resource
Christiana E. Updegraff
artist/mother; comfort
corporeal deterioration
fear
loss
metalsmithing
sculpture
stagnation
time
uncertainty
-
https://www.artistparentindex.com/files/original/b8c419e36c25bce052115b669d07263d.jpg
f356a5a4486e2ec43e96aea53198d6e9
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://www.williamglaserwilson.com" target="_blank" rel="noopener">https://www.williamglaserwilson.com</a>
Topic
perception
fatherhood
domesticity
rituals
Medium
photography
sculpture
Artist Statement
<span>‘Oly’ is an interdisciplinary survey showcasing the emergence of worldly phenomena through the eyes of a young child whilst intertwining the psychological implications of becoming a parent. Through the exploration of various material forms, we’re asked to reexamine objects and experiences we’ve now come to find as commonplace to rediscover them for the “first time”. This project chronologically spans the first years of life, attempting to signify through photographic representation and manipulated physical objects memories we could never ourselves recall; whether it be the emergence of color or seeing our first children's book. By reappropriating, manipulating, and transforming children's book imagery, and a variety of household objects, we find ourselves experiencing the world through an infant.</span>
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Contributor
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William Glaser Wilson
Title
A name given to the resource
William Glaser Wilson
domesticity
fatherhood
perception
photography
rituals
sculpture
-
https://www.artistparentindex.com/files/original/87dd4ca8357cd5c98ffec66d0e98bc75.jpg
f0c974be4564c23ba95b0cb12dd30e58
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://www.lesliefandrich.com/" target="_blank" rel="noopener">https://www.lesliefandrich.com/</a>
Topic
bodies, pregnancy, the womb, breastfeeding, dependance, family relationships, domesticity
pregnancy
the womb
breastfeeding
dependance
family relationships
domesticity
Medium
textiles
fabric
found objects
sculpture
collage
mixed media
Artist Statement
My feminist, interdisciplinary art practice considers the interplay between subject and object and the liminal nature of our bodies. I create objects and spaces that may allow the viewer to re-experience and recall moments of transformation from childhood. I am interested in the boundaries of our bodies and how we are in relationship to our domestic spaces and to each other. I am interested in the pregnant/nursing/mothering body and how it holds and cares for other bodies and how our bodies change, age and need repair.
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Contributor
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Leslie Fandrich
Title
A name given to the resource
Leslie Fandrich
Bodies
breastfeeding
collage
dependance
domesticity
fabric
family relationships
found objects
mixed media
pregnancy
sculpture
textiles
the womb
-
https://www.artistparentindex.com/files/original/baad1356d81af7594b7792549a618e14.jpg
c5dff891d56b58565b22ab98d496a4f9
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://www.jacquelinebelljohnson.com/" target="_blank" rel="noopener">https://www.jacquelinebelljohnson.com/</a>
Topic
fertility/infertility
motherhood
children portraiture
child wonderment
mother and child art collaboration
Medium
installation
sculpture
photography
mixed media
printmaking
writing
Artist Statement
I spent almost 2 decades of my life with a chronic illness that was presumed to make pregnancy impossible. My work at that time explored the concepts of a body shriveled, of war between thought and failure, and anger at the system I was locked into. When I had children, at first, the art I made were these fleeting seconds of beauty in between the demands of infants. Now that my children are at an age (3 and 5) where they can participate with me on artistic adventures and pursue their own. We do projects together at times, collaborating in art making. I also take their portraits, fascinated at how such young little people can have fully developed personalities of their own. I watch them play and want to capture that magical disposition. My work et al is inherently feminist; addressing my past, and larger considerations of gendered labor, including the caregiving labor expected of women both inside and outside the home.
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Contributor
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Jacqueline Bell Johnson
Title
A name given to the resource
Jacqueline Bell Johnson
child wonderment
children portraiture
fertility/infertility
installation
mixed media
mother and child art collaboration
motherhood
photography
printmaking
sculpture
writing
-
https://www.artistparentindex.com/files/original/ae85c43d2ac752875a70650cc06eab9e.jpeg
ae9fb3f06152f308658e2e8e18bcb6b6
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.kellymarshallfineart.com" target="_blank" rel="noopener">www.kellymarshallfineart.com</a>
Topic
domesticity
birth injury
invisible labor
intimacy
bodies
Medium
performance
sculpture
Artist Statement
As a visual artist, I have long been interested in using abstract images and multimedia applications to investigate gendered and sexualized experiences. I am confronting my profound anger about the treatment of women in both historical and contemporary social contexts through violence, marginalization, discrimination, and bias. That anger is matched by my interest in the aesthetic experience of beauty and exploring forms that inspire that experience. Throughout my art practice, I am gathering fabric and shaping it over my body, to explore a relationship between women’s labor, the domestic space, and my personal experience of it. I am also examining how these roles impact privacy, intimacy, and cultural dictations of motherhood. With the curve of my body on the hard concrete and a tablecloth as my only cover, I contemplate the weight of isolation as in contrast to privacy. These textiles are charged with ontologies that circulate around the history of adornments and their role in a marketplace that thrives because of their investment in images of women as sexual objects, and their dependence on the labor of bodies that have been historically disenfranchised because of their class, race, and gender.
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Contributor
An entity responsible for making contributions to the resource
Kelly Marshall
Title
A name given to the resource
Kelly Marshall
birth injury
Bodies
domesticity
intimacy
invisible labor
performance
sculpture
-
https://www.artistparentindex.com/files/original/8d67d110e466f3097cebc983c016c909.jpg
0a7e70f59a8f5e124c33eea1573dade3
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.rcoutureart.com" target="_blank" rel="noopener">www.rcoutureart.com</a>
Topic
motherhood
postpartum depression
miscarriage
Medium
photography
sculpture
installation
video
Artist Statement
Influenced by the personal and the political, I explore a wide range of themes within my work. I have developed a diverse practice that allows my ideas to dictate media, form, and process. The project SUBROSA (Miscarriage) explores the confusion, sadness, conflicting emotions, and the process of moving forward after miscarriage. Sub rosa is the Latin term for "under the rose," which means "in secret.” For many, miscarriage is a secret and solitary experience. This may seem odd given one in four pregnancies result in miscarriage, approximately 750,000 to 1,000,000 every year in the United States. However, scores of women or families miscarry alone due to the “12-week rule.” Medically, miscarriage is treated as a “routine pregnancy complication.” Your doctor or midwife explain options. You receive a booklet with pictures and explanations designed to inform a woman/couple of the why’s and what-happens-next. People are uncomfortable talking about pregnancy loss, so they don’t. How do you mourn someone who never came into being? There are no rituals for miscarriage, thus no cultural steps or process designed to aid in mourning. You try to imagine a new future, a new what-happens-next. And in time, you do, though it is difficult.
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Contributor
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Renee Couture
Title
A name given to the resource
Renee Couture
installation
miscarriage
motherhood
photography
postpartum depression
sculpture
video
-
https://www.artistparentindex.com/files/original/55fb0ca712e4aee4f847c3995dccb6f4.jpg
16391f2c23f357b67d8c5f7d48438bd8
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.christiancruzperformance.com" target="_blank" rel="noopener">www.christiancruzperformance.com</a>
Topic
sex after children
birthing (labor)
breastmilk
postpartum
body positivity
sex after children
Medium
performance art
installation
painting
poetry
sculpture
Artist Statement
My work takes the form of performance, installation, video, and photo. Through the poetic exploration of the mundane, I dignify invisible labor. Invisible Labor includes the emotional, spiritual, and domestic labor that it takes for human reproduction. Invisible labor is undervalued within a capitalist society. I create environments and objects that reexamine what is valuable within our society today, heal the imagination, and ritualize this radical process into a future reality.
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Contributor
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Christian Cruz
Title
A name given to the resource
Christian Cruz
birthing (labor)
body positivity
breastfeeding
breastmilk
installation
painting
performance art
poetry
postpartum
sculpture
sex after children
-
https://www.artistparentindex.com/files/original/4f2a6f69c0252bb8eb061008c6772d41.jpg
3553f61b507ce9167cc4e4c4469779ba
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://elisa-ortega-montilla.com" target="_blank" rel="noopener">https://elisa-ortega-montilla.com</a>
Topic
gender
women's rights
sexuality
objectification of the female body
immigration
adoption
Medium
installation
sculpture
Artist Statement
Growing up in the 1980s in Spain, ten years after my country transitioned from dictatorship to democracy, has marked the way I relate to materials in my art practice. I grew up hearing stories from my grandmother about the Spanish Civil War while she mended hand-me-downs for me from my cousins. What was a result of economic austerity from the Franco years later became an ethical choice for me. My work explores three fundamental parts of who I am: my experience of being a woman and my feminist values; my feelings of acculturation from living in the US while maintaining my Spanish identity; and my opposition to consumerism and commitment to environmental sustainability. My practice uses installations, wood sculptures, and reclaimed and overlooked textiles, addressing themes of memory, transformation, adaptation, and identity through materials that have been discarded, deconstructed, and reconstructed. I mix the found and the made, the new and the old; tradition and experimentation, the mass-produced and the handmade; my Spanish values and my American experience, the present and the past. I’m drawn to the expressive and experiential nature of abstraction because it provides me with a universal language that transcends regions, structures, and categories. Non-binary anthropomorphic volumes, bodily suggestions, sensual movements, and feminine shapes are oblique references to the human condition and a soft invocation of the female body.
Location
The location of the interview
Santa Barbara
California
USA
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Contributor
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Elisa Ortega
Title
A name given to the resource
Elisa Ortega Montilla
adoption
gender
immigration
installation
objectification of the female body
sculpture
sexuality
women´s rights
-
https://www.artistparentindex.com/files/original/2ce13ef1e979de3fe5cd255bd029fee9.jpg
2f833af1772af0bf05b09120a3dda584
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.anadiaknox.com" target="_blank" rel="noopener">www.anadiaknox.com</a>
Topic
breastfeeding
nurturing
postpartum body
sexuality
motherhood
parenthood
Medium
performance
sculpture
installation
video
photography
Artist Statement
My most recent body of work utilizes themes relating to body, identity and time, from the perspective of a mother, partner and individual. I am interested in the ways that nurturing and caring for a child translates as occupational labor, and how this makes common cause with the working class by exploring the laborious nature of parenthood. I approach these ideas through various methods, including casting, construction and performance. While the different series in this body of work investigate separate ideas relating to roles of the postpartum body, a shared use of material can be seen throughout. Construction materials such as wooden pallets, 2x4s and scaffolding reference blue collar workforce, while breast milk storage bags and nursing pads suggest the time-consuming and repetitive notions associated with motherhood. The series in this body of work evolves as my role as a caretaker evolves, and aims to question how modern society values parenthood.
Location
The location of the interview
Loris
South Carolina
USA
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Contributor
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Alexandra Knox
Title
A name given to the resource
Alexandra Knox
breastfeeding
installation
motherhood
nurturing
parenthood
performance
photography
postpartum body
sculpture
sexuality
video
-
https://www.artistparentindex.com/files/original/57fa85541acd6450126f970d44a00e88.jpeg
da2ec573a58bbadbacbc211212ba9a8a
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.deirdrecolganjones.com" target="_blank" rel="noopener">www.deirdrecolganjones.com</a>
Topic
found snack debris
tentative structures
Medium
sculpture
installation
found and discarded materials
Artist Statement
Neglected Space forms a structure for my work. Part of my practice is collecting ordinarily discarded objects, and their accumulation makes them primary building material. Having trained as an architect and as an artist, my installations and objects are grounded within existing architectural theory and vocabulary, yet seek to challenge the boundaries of formal practice. Most pieces are determined by their site and are supported by traditional architecture and materials. Together they produce a kind of absurd space. Through my work I seek to question the usual order and dominance inherent in our ordinary built environment.
Location
The location of the interview
Chicago
Illinois
USA
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Contributor
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Deirdre Colgan Jones
Title
A name given to the resource
Deirdre Colgan Jones
found and discarded materials
found snack debris
installation
sculpture
tentative structures
-
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://karathorndike.gallery" target="_blank" rel="noopener">http://karathorndike.gallery</a>
Topic
motherhood
Medium
photography
sculpture
Location
The location of the interview
Scotland
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Contributor
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Kara Thorndike
Title
A name given to the resource
Kara Thorndike
motherhood
photography
sculpture
-
https://www.artistparentindex.com/files/original/2ecab79494b4a5c887fda7b680280f53.jpg
70d50e0d5e44338a891baf838fc20754
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.babsiloisch.com" target="_blank" rel="noopener">www.babsiloisch.com</a>
<a href="http://www.instagram.com/babsiactually/" target="_blank" rel="noopener">instagram.com/babsiactually/</a>
Medium
installation
video
photography
performance
public programming
sculpture
textile
drawing
reseach
writing
conceptual art
walking art
curation
Location
The location of the interview
Los Angeles
California
USA
Artist Statement
As an artist, conversationalist, mover, and archivist, I use video, sound as well as<br />unconventional and overlooked materials like words, time, relationships and movement as<br />components to create. My work revolves around acknowledging the body as simultaneous site<br />of production, care and labor.<br /><br /><br />While the body of the mother is still only barely tolerated within the contemporary art world, I<br />want to replace this isolation with the idea of sharing community in times of personal struggle.<br />By using "physicality as production" as a methodological principle my work provides glimpses<br />into the maze of enigmas - time precarity, gender roles within the arts, labor relations and the<br />body as a multifaceted vehicle - that I am trying to find a way through and that allows others to<br />share my questions and ask questions with me.<br /><br />Laying bare my experience in the strange, cozy, blurred zone of not being just one, but also not<br />being two the work aims to mirror and encourage an intimate approach to the interdependence<br />of minds and bodies. Embedded in curiosity, open-endedness and exposedness, I very much<br />believe in vulnerability and in art as a means of assemblage and survival in precarious times.<br />Seeing myself and my work as spinning a subtle thread of positive contamination, I want to think<br />of my practice as fostering a constellation in which art is a direct tribute to the spirit of sharing<br />and connection between communities.
Topic
care
labor
body
work
homework
gender roles
lactation
motherhood
parenthood
community
time
movement
parenting
caretaking
invisibility
production
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
2020 Homework, ArtCenter DTLA, Los Angeles
2020 Suffra-Jetting, Woman Made Gallery, Chicago
2019 CURRENT LA 2019- food, Palms Park, Los Angeles
2019 I’m here, Art in the Park, Los Angeles
2019 Female Gaze, Art Share LA, Los Angeles
2019 shifting staying changing dissolving, The Reef, Los Angeles
2018 Reading catalog launch Rattlesnake Bells in the Desert, LACE, Los Angeles
2018 Mileage Allowance, Armory Center for the Arts, Pasadena
2018 Mileage Allowance, 48 hours of Socially Engaged Art, RedLine, Denver
2018 Festival Screening MôTif Film Festival, Fairbanks, Alaska
2018 Mileage Allowance, HFA, Woodstock Artist Association & Museum, NY
2018 Rattlesnake Bells in the Desert, The Box, Los Angeles
2018 lactation room, CalArts, Los Angeles (solo)
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Babsi Loisch
body
Care
caretaking
community
conceptual art
curation
drawing
gender roles
homework
installation
invisibility
labor
lactation
motherhood
movement
parenthood
parenting
performance
photography
production
public programming
research
sculpture
textile
time
video
walking art
work
writing
-
https://www.artistparentindex.com/files/original/a241c9f6581836e4d182c00a805cbf32.jpg
1c2eb27b367e8e8f4a7b273a043fa86a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.clairegreenshaw.com/" target="_blank" rel="noopener"><span style="font-weight: 400;">clairegreenshaw.com</span></a>
Medium
drawing
sculpture
Location
The location of the interview
Toronto
Canada
Artist Statement
<p><span style="font-weight: 400;">Working from a feminist perspective and employing images and materials from daily life, Claire Greenshaw engages with the tensions that arise from the ambiguity of representation. She channels this into humorous and idiosyncratic poetic gestures that provoke questions around perception, the complexities of history and systems that create and enforce the values we live by.</span></p>
Topic
parenting
motherhood
labor
time
humor
art history
breastfeeding
gender
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
Mother Tongue, Clint Roenisch Gallery, 2017<br /><br /><a href="Mother%20Tongue, Clint Roenisch Gallery, 2017. https://clintroenisch.com/archive/2017-2/mother-tongue/" target="_blank" rel="noopener">https://clintroenisch.com/archive/2017-2/mother-tongue/</a>
<p><i><span style="font-weight: 400;">The Artist’s Studio is Her Bedroom, Contemporary Art Gallery, 2020.</span></i></p>
<p><a href="https://www.contemporaryartgallery.ca/exhibitions/the-artists-studio-is-her-bedroom/" target="_blank" rel="noopener"><i><span style="font-weight: 400;">https://www.contemporaryartgallery.ca/exhibitions/the-artists-studio-is-her-bedroom/</span></i></a></p>
Dublin Core
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Title
A name given to the resource
Claire Greenshaw
Canada
drawing
sculpture
Toronto
-
https://www.artistparentindex.com/files/original/895b351127f91eb59791a2fbfe18bdb3.jpg
5d9e5bd11d6d8f57ae5f603a52b3927a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.catherinereinhart.com/#/topography-of-dwelling/" target="_blank" rel="noopener">http://www.catherinereinhart.com/#/topography-of-dwelling/</a>
Topic
care economy
artist/mother studio
breastfeeding
Topography of Dwelling
socially engaged art
drawing
hair
braiding
acts of care
fiber art
Medium
fiber art
video
sculpture
drawing
found textiles
socially engaged art
Artist Statement
Topography of Dwelling seeks to make visible the invisible labor of caregiving through intentional record keeping and the collection of domestic detritus. This body of work includes drawings, rubbings, sculpture, fiber works, and video. Tending to one’s home and family takes copious amounts of time dealt out across tedious and repetitive efforts. This work, often done by women, is incalculable and undervalued. Tasks such as laundry, braiding, and lawncare serve as fodder for works exploring the themes of tending, labor, and time. The use of hair is central. The ritual of braiding is a powerful act of care enacted daily on a disinterested beneficiary, my daughter. Using recorded data from these sessions and topographic maps from the Midwest, I make drawings that map both my home and natural landscapes. For Maternal Studies |Material Studies, I collect hair from my children and ancestors in glassine envelopes. Stratums of dyed fiber and rubbings taken from discarded textiles reference sedimentary layers and the state of my laundry pile. Taking an anthropologist’s gaze, I attempt to illustrate my experience as a home[maker]. This is a gaze which includes objects and artworks, similar to exhibitions found in a natural history museum. This body of work is a study in the accretion of the domestic life and a catalogue of its labors. As an artist/mother, my role is that of archivist and field hand. My aim is to show the value of such labors and the futility inherent in pursuing them.
Location
The location of the interview
Iowa
USA
Dublin Core
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Contributor
An entity responsible for making contributions to the resource
Catherine Reinhart
Title
A name given to the resource
Catherine Reinhart
acts of care
artist/mother studio
braiding
breastfeeding
care economy
drawing
fiber art
found textiles
hair
sculpture
socially engaged art
Topography of Dwelling
video
-
https://www.artistparentindex.com/files/original/af96f19681a46c23f188ccd99abe2fd0.jpg
dbff5bcdbceeb17a4fee632593c185a7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://jessievanderlaan.com/home.html" target="_blank" rel="noopener">https://jessievanderlaan.com/home.html</a>
Medium
drawing
fiber art
printmaking
sculpture
Location
The location of the interview
Knoxville
Tennesee
USA
Artist Statement
<p><span style="font-weight: 400;">My current work views the world through the lens of a parent, simultaneously embracing joy, frustration, hope and fear. My work has always engaged in the liminal states of consciousness, through examinations of precipices, seams, folds, and crevices. In this new work, figurative elements of hands: my own and my children’s, become further lenses for exhuberence or despair. In some cases the hands obscure, and in others highlight. </span><span style="font-weight: 400;">Both experiences are true, useful, and not mutually exclusive. </span><span style="font-weight: 400;">I often feel that my arms are my most precious resource. They allow me to hold hands across parking lots, to carry bags, to prepare meals, to wash dishes, to gesture when I am intensely speaking, to draw, to write, and they are often full. </span></p>
<p><span style="font-weight: 400;">Precarious balance has always been at the crux of my work, and never has it seemed more true to my lived experience than as an artist and mother.</span><span style="font-weight: 400;"> The imagery included with the arms and hands continues to reflect the landscape, as I am habitually drawn to rock formations and fields of flowers. I connect this imagery to the world we inhabit, are desperate to protect, and which holds the history of generations. Through this work, I hope to examine and share the experience of motherhood, in all that is devastating, and all that is jubilant. </span></p>
Topic
parenting
motherhood
fear
hope
post-partum
post-partum depression
post-partum anxiety
environment
landscape
feminism
Dublin Core
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Title
A name given to the resource
Jessie Van der Laan
drawing
fiber art
printmaking
sculpture
-
https://www.artistparentindex.com/files/original/9e1104e61d059a720769b7d52ca2beec.jpg
9e9bda35945a74a8607230e2d0ed11c4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://laurenfrancesevans.com/">http://laurenfrancesevans.com/</a>
Medium
sculpture
collage
video
installation
Location
The location of the interview
Birmingham
Alabama
USA
Artist Statement
As an artist, I am intrigued by the materiality of the flesh and believe it to function as a microcosm that points to various aspects of the immaterial human experience. Years before ever becoming a parent, I was already fascinated by the spiritual and cosmic significance of the human belly button and its relationship to the creative act. As a child I pulled at mine, trying to flip it inside out. Years later, as a graduate student, I poured plaster into it regularly, making castings of its negative space. The belly button is the first mark that life leaves on the body; it is a scar that points to our origins.
Many creation myths describe our world as originating from a central point. The Greek term omphalos (navel) can refer to various symbolic centers that are believed to connect the earthly and divine. Just as the human belly button marks our connection to (and inevitable separation from) our mothers, these so-called navels of the world are often associated with myths of cosmic origin, functioning as physical markers of the very sites at which our earth was supposedly born into existence. This symbolism can be found across cultures and religions: ziggurats, temples, holy mountains, the tree of life, and more.
I’m excited and inspired by the navel, umbilical cord, and placenta as both site and symbol of the simultaneity that is embedded in the human experience. Questions of origin and existence are constantly shaping how I think about my creative work, and my belief is that the work of the artist, and perhaps especially the mother artist, is primarily ontological. Just as the human belly button marks both a connection to and a separation from our physical origins, the work that I make points to a similar simultaneity of opposites, referencing the body’s attraction and repulsion but also the immaterial void of human longing in us all.
Before becoming a mother, I thought of attachment and separation as psychologies experienced by the child. I didn’t realize until experiencing it firsthand that, not unlike the blood circulating through the placenta, these psychologies very much go both ways. I’ve been thinking a lot about this entanglement and have been working it out in a recent body of work. At times I imagine vividly that my daughter and I are still connected by this cord. It’s a tug of war. Often, I tug at the cord, longing for my independence from her, and more often than not, she tugs to bring me closer, unwilling to let me exist apart from her.
Topic
pregnancy
breastfeeding
let down reflex
placenta
umbilical cord
belly button
knots
faith
religion
christianity
attachment
extended breastfeeding
creative act
origins
symbolic centers
Virgin Mary
Christ
breastmilk
breast milk miscarriage
birth and death
birth
artist mother
artist parents
art
artist network
artist/mother
artist/parent/academic
bedsharing
cosleeping
body
bodies
boundaries
devine feminine
early motherhood
early parenthood
education
embodied motherhood
embroidery
family and career
female body
feminist
gestation
lactation
Madonna
maternal
materiality
milk
nursing
pieta
subjectivity
teaching
ritual
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
Wrapped Up, Tied Up, Tangled Up – solo – 2019 – Samford Art Gallery – Samford University – Birmingham, AL
ArtFields – 2019 - The ROB – Lake City, SC
Art|Mother – Unfinished Business Art Show – 2019 – Los Angeles, CA
Are We There Yet? – CIVA Juried Exhibition (forthcoming - June) – 2019 – Johnson Gallery– Bethel University – St. Paul, MN
Simultaneous Letdown – solo – 2019 (forthcoming - October) – Gatewood Gallery – University of North Carolina, at Greensboro – Greensboro, NC
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lauren Frances Evans
-
https://www.artistparentindex.com/files/original/9be937dc98a2a8560625aa4ee4f20f00.jpeg
2d03fd5be707ce4ad68c505a5d2e91fc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.axisweb.org/P/TheresaBradbury" target="_blank" rel="noopener">www.axisweb.org/P/TheresaBradbury</a>
Topic
femininity
gender roles
abjection
activism
adulthood
art
artist/mother
artists with children
,binary tensions
body
capitalism
censorship
mother/daughter collaboration
performativity
patriarchy
contemporary art practice
feminism
feminist theory
gender norms
Medium
performance
live art
photography
sculpture
Artist Statement
Artist Statement – Theresa Bradbury My current practice is an exploration of ideas about the feminine being a social construct – an artificial masquerade. The female as living as her own spectator, the female as always accompanied by her own image. My concerns surrounding the masquerade and performative nature of femininity and the display and objectification of the female body as commodity within Capitalist society. Utilising a live art, film, photographic, performance and sculptural practice to reinforce positive feminist perspectives on the female body. To subvert the prevailing tropes of femininity as prescribed through a patriarchal lens. Investigating questions relating to the body in site, alongside themes of representation and gender, exploring and interrogating social boundaries and acceptable codes of exposure. The appropriate/inappropriate dichotomy, particularly in relation to femininity. The idea that the female body can be acted upon and coerced by external forces must be disrupted to reframe the body as active and autonomous. If the body is a surface to be inscribed upon by cultural and societal forces, what is real? My body as alienated, as belonging to the other. Constant awareness of my body, not as it is for me, but for the other. Femininity formed through the constant surveillance of ourselves against others through the mirror image, a device used to measure yourself against. My work references an anti-aesthetic, a disruption of the social and symbolic ordering of the female body, exploring a rejection of woman as idealised surface and questioning and disrupting the idea of a proper social body. Confronting the viewer with the abjection of the body, refusing containment and allowing seepage and immersion with bodily fluids. My practice attempts to erode the fetishishtic dominant structures of patriarchal Capitalism. By presenting the abjectness of the body, the work both solicits and repels the viewer and refuses the link to commodity culture. The construction of femininity as temporal and manipulable, an artifice, what constitutes femininity and who draws the boundaries? My work subverts the socially dictated artificial femininity represented through media imagery. Femininity which is something that must be purchased and imposed artificially upon the surface of the female and a radical acceptance of mess, fluids and flesh are part of feminist resistance.
Location
The location of the interview
Shrewsbury
England
United Kingdom
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Contributor
An entity responsible for making contributions to the resource
Theresa Bradbury
Title
A name given to the resource
Theresa Bradbury
-
https://www.artistparentindex.com/files/original/92a49a04b2b270a25ff35ca15ec82d71.jpg
d50c9721f689f278f82d6fde43d38909
Person
An individual.
Website
The Artist's website
<a href="https://www.tracymarietaylor.com/" target="_blank" rel="noopener">www.tracymarietaylor.com</a>
Location
The location of the interview
Chicago
USA
Artist Statement
Cried Milk (2018 - present)
Cried Milk uses data collected from a smartphone app to visualize what it looks like to exclusively breast pump for twelve months. Each visualization represents one month of data. The blue rings represent one hour, the change in value tracks the hours of sunlight and darkness, while the change in saturation indicates broad weather patterns (sunny versus cloudy). The straight lines each represent one day and the yellow circular bursts represent each 30-minute pumping session. The size of each circle correlates to the quantity of milk collected. This project connect to broader cultural conversations about motherhood. As infertility rates continue to skyrocket, many women experience motherhood through a similar, clinical lens. My hope is that this project gives voice to the millions of women who have struggled to become mothers and honor the under-valued labor of motherhood.
The Shape of Your Sounds (2017 - present)
Using audio surveillance technologies provided by a commercial baby monitor, I capture my baby’s cries and translate that data into visual shapes. The sound waves loop back on themselves in a 360-degree rotation. The result is vaguely reminiscent of the shape of a flower; each burst of sound looks like a petal. The initial purpose for this project was to try to find visual patterns that could be more easily interpreted. However, I quickly realized this was a fool’s game; the visual patterns are as indiscernible as his sounds. Therefore, what remains is a visual record of a moment in time; a beautiful reminder of those sleepless nights when the world was comprised of just my son and myself.
Sleep Regression (2016 – 2017)
“Sleep Regression” is a series of intimate works that were painted in the space of nap times and record the moments I watched my son while working in my home studio. The paintings’ small size and blue palette reproduce the video format and color, mimicking the tension between the close, private space of sleep and the distance created by the act of surveillance. The effects are eerie and disturbing images of rest. Lingering in the unconscious state of sleep the baby’s body looks lifeless. Are these representations of a sleeping child or a fetus? These works are thus unusual documents of baby’s first year of life–odd surrogates for the family photo album.
The gray-scale paintings, on the other hand, reinforce the reference to the sonogram, creating layers of distance. The painting series thus portrays an interesting paradox: the increasing stylistic abstraction chronicles my catharsis after years of fertility struggles as I move further away from my past sorrows, yet the works also reflect a turn inward and becomes more specific to my body (womb) and more private. The delineated forms in black, white, and grey look like the thermal imaging of a birth–drapery resembles the uterine wall, a dark ground morphs into a vaginal opening.
Topic
abstraction
aesthetics
art
artist mother
baby
baby food
bodily transformation
breast milk
breast pump
breastfeeding
breastfeeding advocacy
breastmilk
care
care taking
care work
caregiving
caretaking
communication
conceptual art
contemporary art
creative practice
creative practice and family life
cyborg
daily life
daily routine
daily tasks
data
data tracking
data visualization
documentation
domestic life
domesticity
early motherhood
everyday activities
exhaustion
family and career
feeding
female body
female experience
feminism
feminist
feminist art
food
food systems
gender equality
gender roles
good mother
grief
growth
guilt
healthcare
human body
infant care
invisible labor
isolation
lactation
let down reflex
loss
maternal experience
maternal healthcare
maternal time
medical care
milk
milk jug
money
mother and child
mother artist
mother guilt
mother work
mother/child relationship
motherhood
motherhood and economic context
motherhood as art practice
mothering
motherwork
mundane details
nature vs. technology
nursing
nursing mothers
parental leave
personal
personal boundaries
personal experience
personal space
pumping
record keeping
remembering
repetition
repetitive tasks
representations of motherhood
research and art
sleep deprivation
social norms
son
technology
time
unpaid labor
visualizations
women's health
women's identity
audio waves
archive
care labor
crying
data visualization
documentation
emotional space
infants and sleep
language
language development
sleep training
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
2018- “Fits and Starts,” Roman Susan Gallery, Chicago, IL
2018- “The Shape of Your Sounds” (solo), Sonnenschein Gallery, Lake Forest College, Lake Forest, IL
<a href="http://www.artistparentindex.com/items/show/471">2019 - "While I Was Away" (solo), Roman Susan Gallery, 1224 W. Loyola Ave. Chicago, IL</a>
<a href="http://www.artistparentindex.com/items/show/495">Painting at Night, Fort Houston Gallery, Nashville, TN</a>
Medium
acylic
flashe
sculpture
digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tracy Marie Taylor
-
https://www.artistparentindex.com/files/original/6a5b3c63539bb6a4426ef547e21903ce.jpg
2fe7a6ab781d8b9f9c3a5254552f4d02
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<p class="p1"><a href="jesstaylorartist.com" target="_blank" rel="noopener">jesstaylorartist.com</a></p>
Medium
sculpture
new media
Location
The location of the interview
Adelaide
Australia
Artist Statement
<p class="p1">I am an early career artist whose practice explores my fascination with fictional horror through primarily digital methods of making. Within the broader realm of horror, I have a particular interest in monsters, voyeurism, and depictions of female brutality, sadism, and masochism. Using my own image and body exclusively, my work presents versions of womanhood that transgress the bounds of what we are taught is acceptable, uncanny spectres of female experience that society is keen to repress. Here, monstrosity is configured as a source of damnation and agency, reflecting womanhood as complex and contradictory.</p>
<p class="p2"></p>
<p class="p3">My own experience as a mother has been one of profound contradiction, of exhilarating highs and profound lows, of love and fury, comfort and trauma. I struggle to reconcile the fact that the greatest time in my life is also the one when it was the darkest, and that my body birthed a miracle but feels like a ruin. I am not as I was, but not quite sure what I am now; I’ve yet to turn into anything resembling the gargantuan mother archetype we’re fed, and too much of the old Jess remains for me to consider myself someone new. I have been transformed, reborn, reconfigured using the old parts. Some days those new parts feel like they were made of steel, making me infinitely stronger than I was, and other days that steel bites into my flesh, broken limbs fused back together suddenly failing to bear my weight.</p>
<p class="p4"></p>
<p class="p3">Motherhood is a monstrous condition; it is incredible and disturbing, beautiful and completely fucked up. Like monstrosity, it is transformative, and for the woman-monster, this transformation is a source of both agency and damnation, strength and weakness. My work since my son is in part an attempt to reconcile the contradiction inherent in my own experience of motherhood, and to bridge the divide between what I am and what we are told a mother should be.</p>
<p class="p3">Experiencing pregnancy for the second time has greatly influenced my work, causing me to reflect much more closely on the process of bearing a child. There is the strange bodily awareness and attempts to reconcile this cavernous space that exists within me, and evocations of my own paranoias as I imagine this space as a place of both hope and doom. I like to think there is also some absurdity when one looks at a ridiculous, bulbous woman, or my lady-giants, but there is also the tenderness of the nets that keep the babies close to her body, or the way a stomach is opened up to sate the curiosity of the smaller figures who peer inside. There is the sorrow of the figure on the bridge as she surveys the fallen before her (a mediation on periods in history where the practice of fallen-mothers ending their lives and the lives of their offspring was not only a grim expectation, but an act of redemption), and my attempt to see a ruin as a place of beauty and life.</p>
Topic
abjection
ambivalence
anger
anxiety
artist mother
attachment
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal ambivalence
maternal anxiety
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
self portrait
technology
trauma
voyeurism
womb
women
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jess Taylor
abjection
ambivalence
anger
anxiety
artist mother
attachment
Australia
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary art
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
feminist theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal
maternal ambivalence
maternal anxiety
maternal bodies
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
new media
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
sculpture
self portrait
technology
trauma
voyeurism
womb
women
-
https://www.artistparentindex.com/files/original/ad2607adc05b4fa0fc7c2a06549bc918.jpg
4fd9652339028699e31195912a37f5b5
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<p><a href="https://monikastocktonmadd.wixsite.com/maddux">https://monikastocktonmadd.wixsite.com/maddux</a></p>
Medium
installation
sculpture
Location
The location of the interview
Wichita
Kansas
USA
Artist Statement
My research is into the multiple aspects of motherhood and I am investigating the obsession that develops in response to the psychological impact of loss, specifically the effects of miscarriage. To that I’ve added a study about the desire to become like my mother and the inability to do the same mother/daughter things I had anticipated. This desire developed into an obsession. I am curious about why I feel I need to produce a female offspring. I have asked myself if it stems from a maternal need that is unfulfilled by my sons, or if it was ingrained in me by my family dynamic, the environment in which I was raised. I was either naturally predisposed to nurture or I was trained, from the beginning, when I received my first doll that cared for, pretended was my own child and named her Hannah. My mother had 3 daughters and she made matching dresses for us and I couldn’t wait until I had a daughter to wear my handmade dresses. I am examining whether it is that I WANT to be like my mother or that I am EXPECTED to be like my mother.
The narratives of MONIKAHOUSE are; motherhood, loss caused by miscarriage, obsession and its manifestations, desperation, dealing with resolution and hard adoptions of reality. All the work stems from this ‘brain’. It represents all my experiences as a mother, a daughter, a sister, a wife. In this space, I can create or recreate any experience I wish. It is an environment akin to a forest. It is often that you are not allowed to remove or even directly interact with the environment, however, you are encouraged to simply observe. An experience that is no less dynamic than if you were allowed to interact. Think Hiking verses Camping.
For the last several years I have been creating rooms in a house, now I am using a house for installations of rooms. My thesis exhibition consists of sixteen rooms in an 1891 Queen Anne home that I have transformed into my life size dollhouse. I have used textiles, ready-made objects from my childhood, furniture and building materials, to create a continuous body of work.
Topic
miscarriage
fertility
infertility
keepsakes
obsession
pregnancy tests
installation art
performance art
dollhouse
life size dollhouse
monikahouse
womanhouse
motherhood
loss
daughter
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
MONIKAHOUSE in Riverside. MFA Thesis Exhibition. Wichita, KS. (2019)
Publications
A catalog or monograph published by the artist
Sometime Babies Die, Children’s Book. March 2019
Dublin Core
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Title
A name given to the resource
Monika Stockton Maddux
daughter
dollhouse
fertility
infertility
installation
installation art
keepsakes
life size dollhouse
loss
miscarriage
monikahouse
motherhood
obsession
performance art
pregnancy tests
sculpture
womanhouse
-
https://www.artistparentindex.com/files/original/323182115e14ad6719e32ae41d2b4e30.jpg
0f5855b7f6f96e1c96fc432cbd52c06c
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://laurayuile.com" target="_blank" rel="noopener">http://laurayuile.com</a>
Medium
installation
sculpture
video
performance
Location
The location of the interview
London
United Kingdom
Artist Statement
<p style="font-weight: 400;">My work is multidisciplinary, installation-based, and performative, exploring notions of the domestic and the urban through the intimate (or public) matters of living together; personal care and household maintenance; wellness and well-being; and the effects of globalization and technological development upon living space. Propelled by narrative, installations probe issues of social discomfort and our cultural obsession with cleanliness; the methods through which society sanitizes women; our desire for quick-fix methods of self-help and self-care; and the increasing invisibility of technological infrastructure in the urban and domestic landscape.<br /><br />I have recently been the societal tendency to position the figure of the Child as representative of “the future” – a reliance on reproductive futurism - and the problems of this representation for those who choose not to reproduce or cannot reproduce. I’m interested in positioning issues of social reproduction alongside those of biological reproduction and exploring the notion of reproductive futurity alongside the neoliberal characteristic of cleanliness as generating a forward-facing pathway. I’m interested in deconstructing notions of “the future” and asking questions about ideas of care in relation to reproductive futurity and the drive for technological “innovation”.</p>
Topic
reproduction
reproductive futurity
family
care
feminism
queer
non-binary
the body
domesticity
labor
home
future
technology
childfree
childlessness by choice
childlessness by chance
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
nGbK (Berlin); Galerie Kunstbuero (Vienna); Apexart (New York); The Blackwood Gallery (Toronto); Recent Activity (Birmingham); Tate Britain (London); Mauve (Vienna); t-space (Milan) and Collective (Edinburgh).
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Title
A name given to the resource
Laura Yuile
Care
domesticity
family
feminism
home
installation
labour
non-binary
performance.
queer
reproduction
reproductive futurity
sculpture
technology
the body
the future
video
-
https://www.artistparentindex.com/files/original/7f8c1b8bd876ab5a9d606310fd524456.jpg
282df56a025acddfad41d6eb54413fea
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.jessicamuellerart.com">www.jessicamuellerart.com</a>
Topic
domesticity
labor
weight
care
intersectionality
Medium
interdisciplinary
embroidery
video
printmaking
painting
performance
sculpture
Artist Statement
Jessica Mueller is an artist, writer, and educator who explores domesticity, labor and translation. She examines motherhood through ideas of care, service, weight and absurdity. Mueller engages multiple modes of making including embroidery, video, printmaking, painting, performance, and sculpture. She is interested in relationships to process, multiples, connectivity and site. Mueller is a Chicago-based teaching artist that has been partnering with Chicago Arts Partnerships in Education (CAPE) and Chicago Public Schools since 2004. Formerly a Program Manager at CAPE, she developed and supported partnerships for over forty artists, art teachers, and academic teachers, while working with principles and district officials. She holds a MFA from the School of the Art Institute of Chicago. She exhibits locally and nationally, and her work is part of the permanent collections at SAIC’s Joan Flasch Artists’ Book Collection, Columbia College’s Center for Book and Paper Arts, and the Library of Congress. Mueller is a member of the Chicago ACT Collective and Mother Art: Revisited.
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/452">Extended Self: Transformations and Connections</a>
Dublin Core
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Contributor
An entity responsible for making contributions to the resource
Jessica Mueller
Title
A name given to the resource
Jessica Mueller
and sculpture
Care
domesticity
embroidery
intersectionality
labor
painting
performance
printmaking
video
weight
-
https://www.artistparentindex.com/files/original/900a87a32d62df93cdbf8fd973636bfc.png
0f2ca6f06ad18920730dc58347f096f6
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.nannalysholt.dk">www.nannalysholt.dk</a>
<a href="http://www.nannalysholthansen.com">www.nannalysholthansen.com</a>
Topic
pregnancy
motherhood
motherartist
mothervoice
technolgy
cyborg
feminism
language
posthumanism
meditation
memory
theory
intergenerational
Medium
live performance
video
installation
sculpture
photography
poetry
sound
Artist Statement
MFA from The Royal Danish Academy of Art. BFA Faculty of Art, Design & Music, Kingston University London. In her artistic practice Nanna Lysholt Hansen is investigating relationships between the body, language, voice, gender and technology. By using her own personal experiences of the female body, sexuality, pregnancy, birth and motherhood she draws attention to the body as a technological and biological intergenerational mediator of knowledge, voice and memory.
Location
The location of the interview
Copenhagen
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Contributor
An entity responsible for making contributions to the resource
Nanna Lysholt Hansen
Title
A name given to the resource
Nanna Lysholt Hansen
biology
copenhagen
cyborg
feminism
installation
intergenerational
language
live performance
mediation
memory
motherartist
motherhood
mothervoice
photography
poetry
posthumanism
pregnancy
sculpture
sound
sound art
technology
theory
-
https://www.artistparentindex.com/files/original/36ffa0f828a2ae20ca57353a9214c552.jpg
4e6241533a766224fbb674b76a636921
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://lopezangela.com/home.html">www.lopezangela.com</a>
Medium
interdisciplinary
video
drawing
painting
sculpture
Artist Statement
ILThere might be magic. Like death, magic is hopeful and scary. A skull grows crystals and a prosthetic bruises. A small foot kicks and slides across the inside of a belly making a wave in the flesh. Sheep’s horns will often grow back into their skull. The body senses and interprets information beyond what the mind is conscious of. The body operates beyond our will and is affected internally by what happens externally and vice versa. As a result there is a lack of physical control over our own bodies. The most recent artworks are influenced by the idea of creating artifacts and documentation of the body and medical treatments in a time unknown. Like speculative fiction, but grounded in real history and the Anthropocene, the works re-imagine our physical and psychological relationship to the body. Using watercolor paintings, animations and sculptures the work depicts the body in metamorphic and sometimes magical states of growth and decay. They explore the familiar and the unknown of embodiment to reveal primal desires, instincts, and fears. The works appear frozen in a moment of metamorphosis, between states of sensuality, life, health and consciousness. Our bodies and psychology are presented as unknowable, yet inescapable, forces in our lives.
Location
The location of the interview
Chicago
Illinois
USA
Topic
Anthropocene
body
growth
decay
metamorphosis
pregnancy
desire
instinct
fear
development
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Contributor
An entity responsible for making contributions to the resource
Angela Lopez
Title
A name given to the resource
Angela Lopez
Anthropocene
body
Chicago
development
drawing
Illinois
instinct
interdisciplinary
metamorphosis
painting
pregnancy
psychology
sculpture
the body
video art
-
https://www.artistparentindex.com/files/original/e76c63c137bdbbed984911c7a0b5f735.jpg
5742d7ca60eb32c27974bad3ffb4f6f9
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a rel="noopener noreferrer" target="_blank" href="http://www.alanatyson.com/">www.alanatyson.com</a>
Medium
sculpture
textiles
performance
Location
The location of the interview
Wales
United Kingdom
Artist Statement
<p class="p0"><span class="c0">Alana Tyson’s work attempts to make sense of the world she inhabits. As an immigrant to the UK and a natural observer, she feels highly responsive to the contradictions of everyday life.</span></p>
<p class="p1"><span class="c0"> </span></p>
<p class="p2"><span class="c0">Her uncertain questioning of diverse thematic concepts is a tactic for working through the problems she encounters, incorporating performance, sculpture and installation utilising found, altered and constructed elements.</span></p>
<p class="p3"><span class="c0"> </span></p>
<p class="p4"><span class="c0">Tyson is drawn to dualities and incongruities. A commonality between her chosen materials is their link to domesticity. Everyday items, such as suit lining or crochet cotton, become carriers of meaning and reflections upon Tyson’s deep-rooted responses. The material contrasts and tension within Tyson’s work transforms the mundane into the visceral.</span></p>
<p class="p5"><span class="c0"> </span></p>
<p class="p6"><span class="c0"> </span></p>
Topic
feminism
crochet
breastfeeding
motherhood
Dublin Core
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Title
A name given to the resource
Alana Tyson
breastfeeding
crochet
feminism
motherhood
performance
sculpture
textiles
United Kingdom
Wales
-
https://www.artistparentindex.com/files/original/880c19e8c4cd69e761e587668e35e6e7.jpg
44daa583b48e76f7b76b7b8e6b5de982
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Medium
film
sculpture
textile
photography
installation
Location
The location of the interview
Ascot
Berkshire
United Kingdom
Artist Statement
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span id="yui_3_16_0_ym19_1_1521640730501_25484" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;">My work comes from a position of ambivalence – more specifically through ambivalent motherhood. My father died when I was a child and my mother before I had my own children. The chain from parent to child to becoming a parent oneself was broken. My work is around the space between these broken links.</span></div>
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;"> </span></div>
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span id="yui_3_16_0_ym19_1_1521640730501_25185"><span id="yui_3_16_0_ym19_1_1521640730501_25485" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;">In psychoanalysis the container/contained notion, as introduced by Wilfred Bion, holds a neutral position, without judgement, that can be used as an approach to thinking about motherhood. It provides numerous ways of probing the question: 'who is the container and who is the contained?'. How does the relationship between mother and child stand at any one moment? How does one see oneself - as a mother or as a child? What is the basis of the container at that moment? What is the emotion of the contained? The container can be actual, practical, or explicit. It can be metaphoric, emotional or implicit. Container/contained is a recurring theme in my work as I explore the fluctuating emotions of ambivalence.</span></span></div>
Topic
maternal ambivalence
maternal relationships
container / contained
depression
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/299">Left Overs</a>
Dublin Core
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Title
A name given to the resource
Jane Glennie
depression
film
installation
maternal ambivalence
photography
sculpture
textile
United Kingdom
-
https://www.artistparentindex.com/files/original/1b56b3d70b80bd400495dc36b3301c02.jpg
fa4b4821ac98d74b9b927c562f75eb7e
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.mirtakupferminc.net/" target="_blank" rel="noopener">http://www.mirtakupferminc.net/</a>
<a href="http://www.gitterarts.net/mothers_info.htm" target="_blank" rel="noopener">http://www.gitterarts.net/mothers_info.htm</a>
Medium
textile
sculpture
Location
The location of the interview
Buenos Aires
Argentina
Artist Statement
With everything what represents in general the role of the mother and in Jewish culture in particular ,Mirta Kupferminc´s work caused surprise to the artist herself . The impact around the presented work , overflowed any expectations about it. Mirta approaches that mother from seeking and highlight the multiple aspects of this multifaceted role , especially emphasizing its individuality as a woman but also as a collective and even mythological aspect. Mirta choose to work loyal to her eclectic style which prevails the transgression of structures and aesthetic formalities : appeals to the use of different materials and techniques responding exclusively to her conceptual idea and practical needs in every case . The artist says : “My proposal is to make soft habitable sculptures that function as attire , clothes , or a dress. Given that clothing covers us , but also allows us to show who we are. That “second skin” shows out an image, but as I can get inside “the body ” , I am submitting myself to the experience of being “ in” that mom´s body. ” As in concentric circles, where one lives inside the other, the artist creates a sculpture with a specific gravity itself but where the symbolic proposal is reinforced when one manages to get inside the artwork, literally. A living sculpture that can protect or devour us ; both physically and symbolically. Soft sculpture whose name contains a pun : “Eve : Chair of all mothers “ refers to the chair as an object as well as to the main, the primeval .
Topic
motherood
individuality
maternal body
Jewish culture
clothing
Wichí culture
Dublin Core
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Title
A name given to the resource
Mirta Kupferminc
Argentina
Buenos Aires
clothing
individuality
Jewish culture
maternal body
sculpture
textile
Wichí Culture
-
https://www.artistparentindex.com/files/original/5146d130fbc515aa219bdaf74a47d6ed.jpg
ab750594b8ff1320004c71fcec8b83f8
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.aimeegilmore.com/portfolio/" target="_blank" rel="noopener">http://www.aimeegilmore.com/portfolio/</a>
Medium
breast milk
wood
found/discarded objects
baby clothes
fabric
neon
cement
clay
plaster
sculpture
mixed media
Location
The location of the interview
Philadelphia
Pennsylvania
Artist Statement
Aimee Gilmore's latest body of work is a result of her recent discoveries in motherhood. The works are a collection of imagery and objects that reflect the process of archiving a routine (like breastfeeding) through its most essential material and highlights the communication between mother and child through abstraction. It is through this collection that Gilmore begins to viscerally relate the abstract nature of motherhood to the unpredictable nature of breast milk, a material that exposes and emphasizes the necessity of letting go. Gilmore seeks a more thorough and vivid understanding of her own labor as mother by making works from the generative processes of her own body.
Topic
breastfeeding
breast milk
binary tensions
motherhood
bodies as markers of time
female body
body
lactation
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/296" target="_blank" rel="noopener">The Art of Breastfeeding: Modern Narrative of Motherhood</a>
Make the Pump Not Suck, MIT Media Lab, April 27 - 29, 2018, MIT University
<a href="http://www.artistparentindex.com/items/show/388">Mother Load</a>
Dublin Core
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Title
A name given to the resource
Aimee Gilmore
baby clothes
binary tensions
bodies as markers of time
breast milk
cement
clay
fabric
female body
found object
found/discarded objects
motherhood
mylar
neon
Pennsylvania
Philadelphia
plaster
sculpture
wood
-
https://www.artistparentindex.com/files/original/7ae7fe6a5e266d1216bb06154b8d47d2.jpg
e3609d1123dbcd6f3b65b8a05d4f764a
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.miriamschaer.com/" target="_blank" rel="noopener">http://www.miriamschaer.com/</a>
Medium
books
sculpture
installation
photography
Location
The location of the interview
Brooklyn
New York
USA
Artist Statement
My work is an exploration of questions for which I find no easy answers. Usually, I use a variety of materials and media to build narratives or depict the complexity of situations not easily resolved. Recently, my work has focused on the relationship of motherhood, and the absence of motherhood, especially how women without children fare in a world that values women largely for their fertility. I became sensitized to the relationships between these conditions as my own mother began to exhibit signs of dementia. As we age, how do we negotiate the role reversals inherent in coping with parents who live beyond the point at which they can care for themselves, as they become, like small children, individuals cared for by their own children, now adults? Finding no simple answers, I hope my work stimulates a dialogue about these difficult issues.
Topic
mother
child
fertility
absence of motherhood
childlessness by choice
childlessness by chance
Publications
A catalog or monograph published by the artist
<a href="http://www.artistparentindex.com/items/show/463">The Maternal in Creative Work Intergenerational Discussions on Motherhood and Art, Contributor</a>
Dublin Core
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Title
A name given to the resource
Miriam Schaer
book
installation
photography
sculpture
-
https://www.artistparentindex.com/files/original/acc56c38f0e33fefd7f46518967a0ecc.png
d5bac068676894711c7d5bf773d0e83a
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://aprildauscha.com/section/454967-Bond.html">https://aprildauscha.com/section/454967-Bond.html</a>
Medium
fiber
sculpture
performance
video
Location
The location of the interview
Greenville
South Carolina
USA
Dublin Core
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Title
A name given to the resource
April Dauscha
fiber
Greenville
South Carolina
video
-
https://www.artistparentindex.com/files/original/bc8afbc896900c48f838da3731daf56f.jpg
97ed7c85ebc196109cb2791ecedff757
https://www.artistparentindex.com/files/original/5ac91965cdb2be5058300bd76ece850b.JPG
bf367e1ab6cc23558ea68e4f0437a26f
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://lauraendacott.com/home.html" target="_blank" rel="noopener">http://lauraendacott.com/home.html</a>
Medium
sculpture
installation
performance
Location
The location of the interview
Montreal
Quebec
Canada
Artist Statement
<p style="font-weight: 400;">Laura Endacott is a practicing artist whose research speaks to the contemporary mother and how it is linked to social movements, cultural activism and intellectual histories that challenge, yet enable the category of maternal art histories, as a site for knowledge production today. Her MA SIP degree (Specialized Individual Programs) combined Studio Art Production and Art History, and she is one of a few artist scholars in Canada, that explores and teaches the critical work that deals with the complex representations of the mother image. Her activities include her practice, her teaching, conference presentations and writing. Her recent work considers the body as an archive. As such she is interested in social life and articulations of agency using performance. She considers her work to be in the tradition of storytelling.</p>
<p style="font-weight: 400;">Her large-scale sculptures, performances and installations are part of an interdisciplinary practice. Her work has been included in a new anthology entitled Performing Motherhood (2014) and she has exhibited in museums such as The Orillia Museum of Art & History (2014), Le Musée des maîtres et artisans du Québec (2009) and The Textile Museum of Canada (2000). Her work has been included in artist-run galleries as well as non-traditional spaces such as the<span> </span><a href="http://bankonart.net/" data-saferedirecturl="https://www.google.com/url?q=http://bankonart.net&source=gmail&ust=1558813210697000&usg=AFQjCNGI43acyTgOwD_uxFs0ROjjLp5PEQ">bankonart.net</a><span> </span>(2010), The Gladstone Hotel (2008) along with online exhibitions such as ArtWiki: Open Data for the Arts (2012). In 2014, the textiles objects she produced and that were used in a series of performances she staged in public space, were collected into the permanent collection of the Musée des maîtres et artisans du Québec. It was the first time any craft object linked to contemporary performative work was included in their collection, which represents the largest craft collection in Quebec.</p>
Topic
motherhood
identity
biological mothers
symbolic mothers
domestic space
public space
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Title
A name given to the resource
Laura Endacott
biological mothers
Canada
domestic space
identity
installtion
Montreal
motherhood
performance
public space
Quebec
sculpture
symbolic mothers
-
https://www.artistparentindex.com/files/original/ca6fb8eb11353e66ea1d5699ca542a25.jpg
7dcc0c66220d42f21756c6dc7bf14814
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://www.verastankovic.com" target="_blank">https://www.verastankovic.com/</a>
Medium
sculpture
installation
photography
collage
urban intervention
performance art
object
sculpture
photography
writing
interdisciplinary
Location
The location of the interview
Ljubljana
Slovenia
Europe
Artist Statement
<p class="p1">I am fascinated by transformation processes.</p>
<p class="p1">I observe transforming spaces, economy, environment, cities, work, cells, bodies, knowledge, history, countries, roles, education, technology, relationships, selves, languages.</p>
<p class="p1">Becoming and being a mother is for me all about transformation. My first solo exhibition in the Zepter Gallery in Belgrade, Serbia was called Metamorphosis<span class="s1"> . </span>The objects I made used banal everyday objects (plastic bags) and transformed them into an immense vagina or into umbilical cords falling from the ceiling. This story from 1999 was a intimate story of separating oneself from the primary family and a story about the everyday and the environment.<span class="Apple-converted-space"> </span></p>
<p class="p1">From 2006 to 2012 my partner and I went through a series of unsuccessful IVFs and several miscarriages. I did several sculptural works that documented this part of our lives - like the Womb exhibited in 2010 in Museum de Ceramica de l’Alcora, Spain. It was just about the pain, I guess.</p>
<p class="p1">In 2012, I was invited to make an urban intervention inside the Vesel Garden in Ljubljana, Slovenia. I was three months pregnant with my son and did not know what to expect about the occurring pregnancy. So I did an urban intervention with a participative performance and called this work Embryo garden. It was all about the thin line between life and death of the child to be, but also of the artistic child within myself.</p>
<p class="p2"><span class="s2">My experience as a parent has been both challenging and inspiring for me as an artist. I explored the relationship between the roles of artist and parent in my 2016 exhibition in the Glass Atrium of the City Hall of Ljubljana, called A Thank You Note To the Cleaning Lady. The work that lent its name to the exhibition questions the relation between reproductive, maintenance work and having greater purpose in life. As a whole, </span>the exhibition was born as a product of broken antagonism between being a parent and an artist and of cooperation between the two roles. The installation To Include Everything, Everything, Everything, Absolutely, Absolutely, Everything especially focused on that. And the work The Map is about the child experiencing and learning by himself, and the artist-mother just observing and taking notes. In this process, I sometimes feel as if steeling from him.<span class="Apple-converted-space"> </span></p>
Topic
play
daily life
work/life balance
parenting
domestic
artist/mother
fertility
infertility
vagina
parent/child collaboration
World War II
exploring
anger
cleaning
maintenence
everyday
powerlessness
ritual
grandmother's motherhood
Dublin Core
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Title
A name given to the resource
Vera Stankovic
anger
archive
artist/mother
calendar
cleaning
collage
daily life
domestic
everyday
fertility
grandmother
infertility
installation
maintenance
Maps
motherhood
parent/child collaboration
parenting
plastic
play
Poljanska
powerlessness
Pozega-Slavonia
pregnancy
readymade
ritual
sculpture
Serbia
Slovenia
toys
vagina
womb
work/life balance
World War II
writing
-
https://www.artistparentindex.com/files/original/cfff4c0e8d2ce3647339983c0d98c669.jpg
2dc08ffddabcafd0bae190aca2cd04ce
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.carrying-stones.com/ties-that-bind/" target="_blank" rel="noopener">http://wwww.carrying-stones.com</a>
Medium
sculpture
performance art
data visualization
social practice
Location
The location of the interview
San Francisco
California
USA
Artist Statement
The Carrying Stones Project is an ongoing series of sculpture, data visualization, and<br />social practice works that explores women’s work inequity in its many forms.<br /><br />Cooking, cleaning, childcare and eldercare responsibilities often still default to women, keeping them from<br />advancing at work and in society. Even community volunteerism—care-taking of the larger<br />community—falls disproportionately on women. This project documents the physical, emotional, and<br />practical effects of these imbalanced burdens.<br /><br />The inequalities that working women face are both systemic and pervasive, and those biases affect<br />individual women differently. As such, the concepts for the Carrying Stones works are viewed through an<br />intersectional lens, and are distilled from the personal narratives of women of diverse ages, ethnicities,<br />orientations, working roles, and socio-economic statuses.
Topic
parenting
caretaking
non-binary parenting
women's work
women's labor
gender inequity
wage gap
unpaid labor
unpaid work
work life balance
feminism
intersectional feminism
domestic work
housework
elder care
data visualization
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
(Opening September 2019) “Counting the Hours: Art, Data, and the Untold Stories of Women’s Work,” Sculpture, photographic portraiture, social practice, from The Carrying Stones Project, Code and Canvas, San Francisco, CA (solo)
Art Market San Francisco, 2 main floor on-site installations from The Carrying Stones Project
Force of Nature: Women’s Work Visualized," sculpture, photographic portraiture, social practice, from The Carrying Stones Project, Classic Cars West Gallery, Oakland, CA. Curated by Dasha Matsuura, director, Spoke Art (solo)
"The Weight of Your World," social practice public interactive event, Classic Cars West Gallery, Oakland, CA
"Ties That Bind," public sculpture, social practice, and performance, from the Carrying Stones Project, Fort Mason Center for Arts & Culture, San Francisco, CA (solo)
"Ties That Bind," social practice public sculpture assembly event, Fort Mason Center for Arts & Culture, San Francisco, CA
"Ties That Bind," 10-minute performance with 13 actors, Fort Mason Center for Arts & Culture, San Francisco, CA
Dublin Core
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Title
A name given to the resource
Sawyer Rose
arenting
California
caretaking
childcare
data visualization
domestic labor
domestic work
elder care
feminism
gender equality
gender inequity
housework
intersectional feminism
non-binary parenting
performance art
sculpture
unpaid labor
unpaid work
wage gap
women’s labor
women’s work
work life balance
-
https://www.artistparentindex.com/files/original/ddbc6fc00f72815bc30b355db9bb822a.jpg
ee57308a469e31946301e2ad48ab9a46
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.pennydavis.com" target="_blank">www.pennydavis.com</a>
Topic
making with children
play
toys
food
naughtiness
mother's verb list
Medium
sculpture
video performance
Location
The location of the interview
Leicester
United Kingdom
Artist Statement
I am an artist working primarily in sculpture but also, drawing and video performance. I am interested in exploring the connections between maternal subjectivity and sculptural form and process. Building upon the legacy of artists such as Barbara Hepworth and Phyllida Barlow but also inspired by Richard Serra’s ‘Verb List’, I make sculptural assemblages using materials for their specific values as they can be applied to my experience of motherhood. Most recently this practice has extended to video and performance and I have begun to use my own children as assistants in the work I produce.<br /><br /> Aesthetically and politically, I am engaged with a history of abstract sculpture which carries the weight of a very masculine modernism, minimalism and post-minimalism. Yet, I am particularly interested in how Kristeva’s psychoanalytic theories of maternal experience intersect with existing assumptions of abstraction in contemporary sculpture, of how sculpture might reveal the physical and emotional tensions of maternal ambivalence. I am interested in how abstraction can articulate maternal embodiment and the phenomenological experience of motherhood and how the interactions between form and material might reveal this.<br /><br />The sculpture has become concerned with this relationship between mother and child as temporary and contingent. The materials are both fragile and of low value: willow, packaging, polystyrene, building materials. There is a combination of natural and synthetic, using materials and processes to explore tensions associated with fine art and craft. The integrity of support is always in question in the sculptures dependency upon the environment. The viewer is never quite sure of which part supports what, and if you took a part away, there is the feeling that the entire structure would fall apart. An illusionistic treatment of material generates a mystery around its original identity – natural apes synthetic and vice versa. Within the construction, qualities of weight and strength are confused by their placement in relation to other sculptural parts or to the architecture. Surfaces are intensely worked to create a contradiction in scale: the viewer must physically engage with the sculpture whilst also pausing to observe intimate surface detail.
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Contributor
An entity responsible for making contributions to the resource
Penny Davis
Title
A name given to the resource
Penny Davis
food
Leicester
play
sculpture
toys
United Kingdom
video performance
-
https://www.artistparentindex.com/files/original/3ad4b2ef701fc942b0b33de9bed29a28.jpg
0b42d64c9ada4b7ba59837b5e2ff1e5c
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.xscollective.com.au/" target="_blank">http://www.xscollective.com.au/</a>
Medium
sculpture
Location
The location of the interview
Mildura
Victoria
Australia
Artist Statement
Danielle Hobbs explores ideologies, contradictions and complexities of ‘good’ and ‘bad’ motherhood with her labour intensive, fastidiously crafted wardrobe of clothes for her children, offering a poetic response to the artist’s first-hand experience of Postnatal Depression. Hobbs’ meticulously constructed garments are enriched with talismans, amulets and charms, and laced with traces of strangely familiar, slightly subverted fairytales and myths. Their construction incorporates the psychological agency of biological materials such as collected hair, eyelashes and nails from family members as well as materials collected from native and introduced animals such as echidnas, galahs, the fox and the European rabbit. Fight or Flight takes its name from the psychological reaction that occurs in response to a harmful or threatening situation. It is a reversible caplet; one side is stitched with a bib shaped collection of porcelain human teeth replicas, the other has a generous covering of feathers from an important Australian cultural icon and (ironically) flightless bird, the Emu. The article of clothing made for the artist’s daughter can be worn baring teeth or displaying feathers depending on the chosen response to a situation. The work embodies the dual purposes of watching over the child in the mother’s absence and shielding the child from the ‘bad’ mother’s presence. These protective garments make manifest Hobbs’ hopeful coping mechanisms that enabled her to navigate and overcome her darkest moments of Postnatal Depression.
Topic
good mother
bad mother
clothing
fairytale
postnatal deppression
costume
cultural icon
talisman
amulet
charm
Dublin Core
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Title
A name given to the resource
Danielle Hobbs
amulet
Australia
bad mother
charm
costume
cultural icon
good mother
Mildura
motherhood
mothering
postpartum depression
Victoria
wardrobe
-
https://www.artistparentindex.com/files/original/7508072e9f058b216450570158be11cf.JPG
581114f114136f21f3673ab82db539da
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://michellebergradford.com/" target="_blank">http://michellebergradford.com/</a>
Medium
painting
mixed media
sculpture
Location
The location of the interview
Greenville
South Carolina
Artist Statement
<span>Michelle Berg Radford is an artist and educator living in Greenville, SC. She holds an M.F.A. in Painting from the Savannah College of Art and Design. She began her studio practice as a landscape painter, but has recently been exploring the meaning behind motherhood and domestic spaces through her mixed media assemblages and collages. Michelle teaches college painting, fiber arts, and theory courses. Michelle lives with her husband, Paul, and three young children and is passionate about weaving together art and daily life.</span>
Topic
motherhood
domestic space
home
baking
maternal responsibilities
maternal labor
birthdays
Dublin Core
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Title
A name given to the resource
Michelle Berg Radford
baking
domestic labor
domestic space
feeding the family
Greenville
home
maternal labor
mixed media
motherhood
painting
South Carolina
-
https://www.artistparentindex.com/files/original/00ef2fef64bd77d483ff15fab97a4f53.png
c443b8cf2672ea3d367b9af423fd33ec
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://jillbakergower.com/" target="_blank">http://jillbakergower.com/</a>
Medium
mixed media
silver
sculpture
Location
The location of the interview
New Jersey
Artist Statement
<p>The female experience is a reoccurring theme in my work. My jewelry and sculpture is informed by everyday interactions and observations of gender-based expectations or generalizations. Within advertisements, popular culture, and the media; similar colors, patterns, shapes, beautification techniques, and pastimes intended for women are apparent. My material choices, surfaces, and forms are developed in one way through my exposure and interest in this experience.</p>
<p>The shapes and forms of my pieces come from disparate inspirations including the female form, faceted gems, historic jewelry and metalwork, and tools or implements for beautification or medical procedures. The surfaces of my work are often ornate, etched with lace patterns, and at times are paired with actual crocheted elements. These choices allude to femininity initially by being flowery, lacelike, and curvilinear, by their association with popular use in women’s apparel, and since the act of crochet or lace making is currently and was historically known as a women’s skill. I choose to incorporate skin, red, and pink toned colors in my work primarily to reference human flesh, cosmetics, the body, and blood.</p>
<p>Materials such as skin toned rubber and mirrors reference bodily transformation, self-examination, and vanity. Other materials like pearls, jewels, lustrous fabrics, feathers, enamel, hair, silver, and gold are chosen for their aesthetic qualities, emotional resonance, preciousness, and value associations. With these materials, formal considerations, and influences I create work that is both playful and beautiful and at times even absurd or humorous.</p>
Topic
metalsmithing
female experience
femininity
gender-based expectations
pregnancy
womb
gestation
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Title
A name given to the resource
Jill Baker Gower
aesthetic
female experience
femininity
gestation
jewelry
metalsmithing
mixed media
New Jersey
pregnancy
sculpture
silver
womb
-
https://www.artistparentindex.com/files/original/952e6b021f4acd6537a04ec0dc78bd40.JPG
3288fb0fac8ce40a102831f79dbcbdb3
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<span><a class="in-cell-link" href="http://jessicapaigegreig.blogspot.com/p/contact.html" target="_blank">http://jessicapaigegreig.blogspot.com/</a></span>
Medium
mixed media
sculpture
video art
installation
photography
collage
Location
The location of the interview
Nottingham
United Kingdom
Artist Statement
<p>I am a mixed media artist, exploring themes of the Maternal, Relationships, Sexual Politics and the Cycle of Life.</p>
<p>I am particularly attracted to Flora's life cycle; I link these to human experience using Anthropomorphism and Pareidolia, these are documented via Photographs & Sculptures, where inspiration from the natural world has become fundamental to my practice.</p>
<p>My sculptures are made from non-traditional materials, based on seeds, their shape & form are often reminiscent of human body parts</p>
<p>Currently my work focuses on pregnancy, motherhood and in particular the dynamics of Mother-Daughter Relationships, Since becoming a Mother myself, I have become obsessed with trying to document 'Moments' & 'Memories', and the 'Essence of my mother', in an attempt to understand the complex relationship that I have with my own mother.</p>
Topic
maternal relationships
sexual politics
life cycle
human body
motherhood
mother/daughter relationship
pregnancy
Dublin Core
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Title
A name given to the resource
Jessica Greig
collage
human body
installation
life cycle
maternal relationships
mixed media
mother/daughter relationship
motherhood
Nottingham
photography
pregnancy
relationships
sculpture
sexual politics
United Kingdom
video art
-
https://www.artistparentindex.com/files/original/786688114ac96155259a4d1640c0de74.png
43b08356a268f778d626c7e482c1ce84
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<div style="text-align:left;"><a href="http://www.luheintz.com/" target="_blank">http://www.luheintz.com/</a></div>
Medium
conceptual art
textiles
metalsmithing
video
sound
sculpture
installation
performance
paper works
writing
Location
The location of the interview
Providence
Rhode Island
Artist Statement
My work is engaged in discourses around feminism, labor and technological change. Embedded in the works are confluences of technique and meaning, craft and digital media, and everyday materials with fine art forms. The work is situated at the nexus of life and art, and walks a boundary between work and love. Labor and love act broadly as dual domains which sustain my interest in the ways a subject acts and is acted upon by intersecting social, economic, intimate, emotional and political forces. While some works describe the ways in which labor and love converge in personal and economic experience, others begin to search for meanings of love that may deviate from material, economic conditions to transform the terms of our intimate and collective relationships.
Topic
labor
love
power
gender
consumerism
intimacy
communication
silence
Dublin Core
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Title
A name given to the resource
Lu Heintz
communication
conceptual art
consumerism
gender
installation
intimacy
labor
love
metalsmithing
paper works
performance
power
sculpture
silence
sound
textiles
video
writing
-
https://www.artistparentindex.com/files/original/9fab55cbc2c288c792bdc0a76c2b8417.jpg
4aecbbeee16959a8cb410b391a56f44e
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.paulachambers.co.uk/index.html" target="_blank" rel="noopener">http://www.paulachambers.co.uk/index.html</a>
Medium
sculpture
installation
Location
The location of the interview
United Kingdom
Artist Statement
My mother was not a feminist, yet growing up in 1970s suburban north London I was witness to, and complicit in, her active refusal to conform to the expectations of a good housewife. Cleaning, tidying, dusting, washing up, were all low on the list of my mother’s priorities, instead she played tennis, she grew vegetables, she went out dancing; my sister and I were left to our own devices. As a feminist artist, I have adopted my mother’s domestic dissent, integrating it as philosophy into the processes and outcomes of my art making practice. I do not have a studio but make art in my kitchen; I rarely clean or tidy up, I utilize my domestic space and the objects that inhabit it, as a temporalized site of domestic resistance.<br /><br />The domestic objects and household ornaments of our childhoods take on an emotional value that shape our notions of self; that construct significant personal identities. In the body of work " "Transcendental Housework", I subvert these domestic objects that haunt our retrogressive imagination. This is dysfunctional furniture and ambivalent ornamentation. Sculptural objects, both floor based and wall based seem to lurk or loiter in the gallery space, they have a whiff of discontented anthropomorphism.
Topic
motherhood
feminism
childhood
domestic space
housework
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/404" target="_blank" rel="noopener">The M Word, One Paved Court Gallery, 1 – 12 May 2019</a>
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Title
A name given to the resource
Paula Chambers
childhood
domestic
feminist
installations
motherhood
sculpture
United Kingdom
-
https://www.artistparentindex.com/files/original/6336856bbeb9657ba08b4d4b53e6a538.jpg
18e936bc0c096c17a7064b3adbf020b1
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Description
An account of the resource
Decades of Dreaming of You 2012, hair embroidery on mother's (artist's) hair from gestation period, thread from unraveled pillowcase, 3 x 5 x 5". Text reads "Decades of Dreaming of You"
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.katekretz.com/work-by-series/#/new-gallery-2/" target="_blank">http://www.katekretz.com/work-by-series/#/new-gallery-2/</a>
Medium
sculpture
embroidery
hair
fiber
textile
Artist Statement
“I often experience news stories of inhumanity as a literal blow to my body, and carry the negative energy around with me until I process a way to remove it from my person through transformative creation. My work functions as a meditation, a healing prayer, a potent incantation to embed the finished object with as much power as possible, to rival the impact of that original negative impetus for making it. I am aiming for a beautiful, exquisitely-crafted gut punch.
I consider the inordinate amount of time invested in each piece as a gift given to the viewer. In this day and age, it often feels as though the earnest, cathectic things I make are an act of profound resistance: I give birth to the tactile as I am swallowed by the virtual. I obsess over craft as our world becomes disposable. I wield emotion in its messiness because it’s uncool. I work until my hands shake, because the world does not care.
I am banging my head against the wall, but the stain is beautiful.”
Topic
motherhood
gestation
motherhood and creative practice
Dublin Core
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Title
A name given to the resource
Kate Kretz
embroidery
fiber
gestation
hair
longing
motherhood
motherhood and art practice
sculpture
textile
-
https://www.artistparentindex.com/files/original/a41cc580284d85a711dfbc83d3099d36.jpg
b164c39d88008b6f3cc41a34f7b06f6c
Dublin Core
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://methodinthemaking.wordpress.com/" target="_blank">https://methodinthemaking.wordpress.com/</a><br /><br />
<a href="https://methodinthemaking.wordpress.com/2014/08/23/gravidus-i/" target="_blank">Gravidus I</a>
<a href="http://clairehickey.blogspot.com/" target="_blank">http://clairehickey.blogspot.com/</a>
Medium
sculpture
social practice
Artist Statement
<p><span>The final presentation of my MA consists of a body of work entitled GRAVIDUS. The name GRAVIDUS is the Latin word for pregnant but can also mean heavy, burdened or teeming. This is appropriate for this work as it represents the physical aspects of my own pregnancy both internally and externally and also some of the emotional feelings that were present throughout. As a whole, the work uses the mould-making process as a basis for creating sculptural pieces and indirectly references my changing bodily state in pregnancy.<br /></span></p>
<p><span>GRAVIDUS I is comprised of a series of nine plaster blocks of variable size with different interior forms. For the MA show, it was arranged systematically over two reclaimed wooden structures. The materials used for the work’s display reference the supporting mechanism used within industry and workshop production to add strength to a final sculpture or building material. The openness of the display allows for different visual effects as the viewer moves around the piece and links to the visible internal spaces of the pieces themselves and theoretical notions of the boundaries of the pregnant body.</span></p>
Topic
pregnancy
maternal body
changing body
Dublin Core
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Title
A name given to the resource
Claire Hickey
pregnancy
pregnant body
sculpture
social practice
-
https://www.artistparentindex.com/files/original/2bd6a34486129043b2f5a445acac870e.jpg
b9c0c55f36394681735d43a9760177a5
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Title
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Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://madisonomahne.com/" target="_blank">http://madisonomahne.com/</a>
Medium
performance art
sculpture
drawing
fiber
Location
The location of the interview
Cleveland
Ohio
Artist Statement
WOMB PROJECT STATEMENT: This 9 month long documentation explores the physical changes artist, Madison Omahne experienced throughout her first pregnancy. By crocheting around herself during this period, she creates a "womb-like" soft sculpture, which protects and comforts her, just as her womb protects and comforts her growing baby. Omahne utilizes the repetitive process of crocheting, a traditional craft, to reflect on her pregnancy, her body, and her baby growing inside. As her baby continues to grow and begins to manipulate her body, it is apparent that the sculpture is doing the same. The more the baby grows, the more difficult it becomes for the artist to continue creating her work. However, it is inevitable that she continues. This is catharsis. At last, when the sculpture is complete it is then deconstructed by the artist to reveal the greatest work of art, her baby. <br /><br />BIO<br /><br /> Madison Omahne received her MFA in Sculpture at Brooklyn College in 2011, where she studied under renowned artists such as Vito Acconci and Patricia Cronin. She currently lives and works in her home studio with her husband, son, and two dogs in Cleveland, OH.
Topic
pregnancy
domestic objects
interior/exterior
womb
maternal body
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/290" target="_blank">Of Women</a>
Dublin Core
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Title
A name given to the resource
Madison Omahne
drawing
fiber
interior/exterior
maternal body
performance
performance art
pregnancy
sculpture
womb
-
https://www.artistparentindex.com/files/original/c7abac46fab3562cedf6313a8c65ae43.jpg
28ee8f79ca8547876f54e9dcb873ab86
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.bethgrossman.com/gallery/lifeindiapers/" target="_blank">http://www.bethgrossman.com/gallery/lifeindiapers/</a>
<a href="http://www.bethgrossman.com/gallery/ourmothermaryfound/index.html" target="_blank">http://www.bethgrossman.com/gallery/ourmothermaryfound/index.html</a>
<a href="http://www.bethgrossman.com/gallery/firstcomelove/index.htm" target="_blank">http://www.bethgrossman.com/gallery/firstcomelove/index.htm</a>
Medium
painting
sculpture
social practice
Location
The location of the interview
San Francisco
California
Artist Statement
<span>In my artwork I tell stories about what I see, what I learn and what I think. There is no lack of inspiration being a mother. My son shows me the world anew and I constantly notice my own limited adult views. </span><br /><span>In our American culture, mothers and children are marginalized, even though we represent a large consumer market. Our leadership work as mothers is undervalued and unpaid. In our society artists are treated similarly. We have held onto our visions as children do, insist on speaking our minds and do the work we love. Our work is also undervalued and underpaid in comparison to other commercial markets of similar size and scope. <br /></span><br /><span>Female art students are often told in art school "if you want to be considered as a serious artist, don't have children." In the traditional model of being an artist, one's life must be consumed by art-making. Raising children is also all consuming. It has changed my life as an artist dramatically. I am more focused, organized, energized, inspired and determined to tell my story of being a professional artist and a "good mom." <br /></span><br /><span>I chose diapers as my canvas because of their cultural symbolism. We often speak of raising children as being an endless job of changing diaper after diaper. This care-giving role is a natural part of the life cycle. Using diapers as a primary art material serves to honor our parents and caregivers who changed all our diapers. I paint, draw and write quick sketches of my personal experiences and feelings of being a mother. The artistic style is not as labored as my previous work since so many things are happening quickly and this is an immediate way to document them. </span><br /><span>This project was made possible by grants from the Philanthropic Ventures Foundation and the Peninsula Community Foundation.</span>
Topic
diapers
motherhood
American dream
gender stereotypes
middle-class family
maternal work
Virgin Mary
iconic symbolism
Madonna
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Title
A name given to the resource
Beth Grossman
American dream
California
diapers
gender stereotypes
iconic symbolism
Madonna
maternal work
middle-class family
motherhood
painting
San Francisco
sculpture
Virgin Mary
-
https://www.artistparentindex.com/files/original/5f071837edc1072d48ab7f0abaaf9e0f.jpg
09988cf8e39d830c2860ae729adafa73
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.lenkaclayton.com/" target="_blank" rel="noopener">http://www.lenkaclayton.com/</a>
<a href="http://www.lenkaclayton.com/#/artist-residency-in-motherhood/" target="_blank" rel="noopener">Artist Residency in Motherhood</a>
Medium
conceptual art
video art
drawing
sculpture
performance art
Location
The location of the interview
Pittsburg
Pennsylvania
Artist Statement
<p>In 2012 I founded <a href="http://www.residencyinmotherhood.com/" target="_blank" rel="noopener">An Artist Residency in Motherhood</a> — a structured, fully-funded artist residency that takes place inside my own home and life as a mother of two young children.</p>
<p>Artist residencies are usually designed as a way to allow artists to escape from the routines and responsibilities of their everyday lives. An Artist Residency in Motherhood is different. Set firmly inside the traditionally “inhospitable” environment of a family home, it subverts the art-world’s romanticization of the unattached artist, and frames motherhood as a valuable site, rather than an invisible labour for exploration and artistic production.</p>
<p>As the first artist-in-resident-in-motherhood I aim to embrace the fragmented mental focus, exhaustion, nap-length studio time and countless distractions of parenthood as well as the absurd poetry of time spent with young children as my working materials and situation, rather than obstacles to be overcome.</p>
<p>The following works are amongst those made during my tenure as Artist-in-Residence-in-Motherhood;</p>
<p><a href="http://www.lenkaclayton.com/the-distance-i-can-be-from-my-son">The Distance I Can Be From My Son</a></p>
<p><a href="http://www.lenkaclayton.com/all-the-scissors-in-the-house-made-safer">All Scissors in the House Made Safer</a></p>
<p><a href="http://www.lenkaclayton.com/objects-from-my-sons-mouth">63 Objects from My Son's Mouth</a></p>
<p><a href="http://www.lenkaclayton.com/womens-intuition-hats">Women's Intuition (hats)</a></p>
<p><a href="http://www.lenkaclayton.com/moons-from-next-door">Moons From Next Door</a></p>
<p><a href="http://www.lenkaclayton.com/one-brown-shoe">One Brown Shoe</a></p>
<p>The project is archived in full at <a href="http://www.residencyinmotherhood.com/" target="_blank" rel="noopener">www.residencyinmotherhood.com.</a> On conclusion of my tenure in May, 2014 the project will be passed along to two new residents.</p>
<p>An Artist Residency in Motherhood was funded by the Robert C. Smith Fund and the Betsy R. Clark Fund of The Pittsburgh Foundation and a Sustainable Art Foundation Award, and supported in kind by Pittsburgh Filmmakers and Pittsburgh Center for Creative Reuse.An Artist Residency in Motherhood was exhibited at Pittsburgh Center for the Arts in 2012, and documents and works from the project are currently being exhibited in Complicated Labors at University of California Santa Cruz, curated by Irene Lusztig & Natalie Loveless until March 15th 2014.</p>
Topic
motherhood
motherhood and studio practice
studio time
mental focus
household safety
children and safety
care taking
choking hazards
children and independence
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://artistparentindex.com/items/show/4" target="_blank" rel="noopener">Complicated Labors</a>
New Maternalisms
<a href="http://www.artistparentindex.com/items/show/391" target="_blank" rel="noopener">Care and Feeding: The Art of Parenthood, Palo Alto Art Center, 2018</a>
<a href="http://www.artistparentindex.com/items/show/417" target="_blank" rel="noopener">Bodies of Work, Baxter ST Camera Club of New York</a>
<a href="http://www.artistparentindex.com/items/show/462">Labor: Motherhood & Art in 2020</a>
Dublin Core
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Title
A name given to the resource
Lenka Clayton
care taking
children and independence
choking hazards
conceptual art
dogs
drawing
household safety
mental focus
motherhood
motherhood and art practice
Pennsylvania
performance art
Pittsburg
sculpture
studio practice
studio time
video art
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https://www.artistparentindex.com/files/original/3f61edaef3afa8a13498d9359c1d0ed4.jpeg
ca180c84e21a95b63475c380cc9e81b7
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Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.rachelfallon.com/">http://www.rachelfallon.com/</a>
<a href="http://www.procreateproject.com/portfolio/rachel-fallon/" target="_blank" rel="noopener">http://www.procreateproject.com/portfolio/rachel-fallon/</a>
Medium
sculpture
peformance
photography
metal
textile
paper
Location
The location of the interview
Bray
County Wicklow
Ireland
Artist Statement
Fallon’s work explores themes of protection and defence in domestic and maternal realms. Her practice encompasses sculptural work in metal, textile and paper; drawing, performance and photography.
Conflicts and ambivalences within familiar territories inform the initial choice of materials and technique for each work. The methods of making are crucial to revealing new ideas and resolving thought processes intrinsic to the original starting point of the piece.
As well as an individual practice, Fallon also works in collaborative groups and collectives, both in Ireland and England. The two disparate ways of working feed into one another and are therefore equally important parts of her practice.
Topic
protection
defense
maternal protection
maternal defense
ambivalence
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://artistparentindex.com/items/show/19" target="_blank" rel="noopener">Project AfterBirth</a>
Dublin Core
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Title
A name given to the resource
Rachel Fallon
ambivalence
Bray
County Wicklow
defense
Ireland
maternal ambivalence
maternal defense
maternal protection
metal
paper
performance
protection
sculpture
textile
-
https://www.artistparentindex.com/files/original/b8ef86770d42346767f6fb4569bc46e7.jpg
476102094e0f24d890710f6d7e149606
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Title
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Artist Parent Index
Person
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Website
The Artist's website
<a href="http://courtneykessel.com/home.html" target="_blank">http://courtneykessel.com/home.html</a>
Medium
performance art
sculpture
installation
video art
sound
Location
The location of the interview
Ohio
Artist Statement
My current work and research is focused on the possibility of what a feminist form may consist of beyond current feminist content, imagery, and histories. Through sculpture, performance, video, and sound, I perform a visibility that, in normative patriarchal society, is preferred to remain invisible. The question of feminist form transcends the product and is inclusive of my practice and methodology. In doing this, a slippage occurs where the separation of studio activity and domestic responsibility is blurred.
In the performance In Balance With, my six-year-old daughter, Chloe, and I sit at opposite ends of an empty sixteen-foot seesaw. During the thirty-minute performance, I add items that represent our lives such as toys, her books and sketchbook, my research books, food, laundry, tools, and pots and pans to her side of the seesaw. Constantly checking in with her well being, I continue until both sides have reached equilibrium. While hovering in a balanced state, I am continually counteracting her every move. Here we remain until she is ready to come down. In communication the entire time, the words we share are available to the audience but are not for the audience.
This piece is the confluence of many of my ideas. It relays and relies upon the non-privileged, unspoken language of the maternal, the process as opposed to the product, and the repositioned domestic dialog. When the performance ends, what remains is a laden seesaw complete with identifiable objects representing one’s life: a sculpture that tells a tale.
The non-hierarchical triad of feminism, language, and maternity forms the unique basis for my work. The French feminist Luce Irigaray describes woman “as waste, or excess, what is left of a mirror invested by the (masculine) ‘subject’ to reflect himself, to copy himself”1. I use language as a medium in my work to represent the gap in both “meaning” and “intention,” as well as the notion of “excess” as Irigaray connotes. How does the methodology I will use be sympathetic to feminist form? How will my decisions be based on this? Feminist form is non-hierarchical. It has options and choices; it is excess and multiplicitous, not singular. It will not be categorized, but create it’s own category. It is a process that is not based on product. It accumulates and is messy, but is not interested in making messes. It is an invitation, not a statement.
Topic
motherhood
daughter
feminism
language
domestic life
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://artistparentindex.com/items/show/4" target="_blank">Complicated Labors</a>
<a href="http://artistparentindex.com/items/show/19" target="_blank">Project AfterBirth</a>
<a href="http://www.artistparentindex.com/items/show/274" target="_blank">Labors</a>
<a href="http://www.artistparentindex.com/items/show/64" target="_blank">New Maternalisms - Chile</a>
<a href="http://www.artistparentindex.com/items/show/161" target="_blank">New Maternalisms - Redux</a>
Dublin Core
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Title
A name given to the resource
Courtney Kessel
daughter
domestic life
feminism
language
motherhood
Ohio
performance art
sculpture
sound
video art
-
https://www.artistparentindex.com/files/original/6d7417262bb95944a536c9f0af34d0bf.jpg
e790bfa18f91cde575220c268093852c
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Title
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Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://denisewhitebreadfanning.com/homeland-security.html" target="_blank">http://denisewhitebreadfanning.com/homeland-security.html</a>
Medium
sculpture
performance art
installation
Location
The location of the interview
Michigan
Artist Statement
Created from the perspective of mother, Homeland Security is an ongoing body of work comprised of (often futile or absurd) survival and escape gear made by a mother to protect her family and loved ones from a threatening array of inevitable tragedies or disasters, from simple domestic accidents to acts of terrorism and environmental catastrophes. Fusing the artist's converging interest in survival preparedness and mundane domestic survival, this body of work continues to manifest as a response to the ever present fears of the mother/caregiver, who, influenced by media and the societal commodification of fear, desires to protect that which she most fears losing. Using language culled from Survival Preparedness Handbooks which often doubles as domestic survival mantras, the work explores the line between utmost gravity and the absurd, between our real and daily dangers, and the sense of humor necessary for our survival. All of the work in this series speaks to human fears of loss and mortality, as well as the ego attached to the implied ability to prevent such mortal guarantees.
Topic
motherhood
protection
survival
disasters
accidents
survival planning handbook
survival preparedness
fear
maternal fear
mortality
Dublin Core
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Title
A name given to the resource
Denise Whitebread Fanning
accidents
installation
lifeboat
maternal fear
Michigan
mortality
motherhood
performance art
sculpture
survival
survival gear
survival handbook
survival preparedness