1
300
4
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https://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
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https://artistparentindex.com/files/original/6bb2e1291d6d97f55b95215dc55ca471.jpeg
e64733c4c2f74f7168d91059c7fc1266
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="http://www.jessdobkin.com" target="_blank" rel="noopener">jessdobkin.com</a></p>
Medium
performance
social practice
Location
The location of the interview
Toronto
Canada
Artist Statement
<p class="p1">I’ve been a working artist, curator, community activist and teacher for more than 25 years, creating and producing intimate solo performances, large-scale public happenings, socially engaged interventions and performance art workshops and lectures. My practice extends across black boxes and white cubes, art fairs and subway stations, international festivals, and single bathroom stalls. I’ve operated an artist-run newsstand in a vacant subway station kiosk, a soup kitchen for artists, a breast milk tasting bar, and a performance festival hub for kids. I’m forever inspired by the rebel queers, renegade witches, and other dyke moms I run with, and bound to many brilliant artists, activists, spell-casters and healers. <span class="s1">For many years I made performances that drew from my own experiences of trauma and transformation, intimacy and motherhood. More recently, I’ve experienced a shift in my practice, where my attention has turned to wider theoretical questions about the nature of performance itself to </span>ask questions about when, where, how we perform - in theatres and galleries, on social media, and in our everyday lives.</p>
Topic
abjection
activism
adulthood
aging
archive
art
art and research
artist mother
art making
artist parent
artist/mother
artistic labor
artists with children
autobiography
binary tensions
bioethics
biology
birth
birth and death
birth trauma
bleeding
body
body exploration
body transformation
breast milk
breast pump
breastfeeding
breastmilk
care
censorship
childhood
creative practice
creative strategies
cultural reproducers
culture
curating
curation
curator
curatorial practice
documentation
domestic labor
domestic life
domestic space
domesticity
early motherhood
early parenthood
empathy
ethics
exhaustion
family
family accessible event
family portrait
feminism
feminist
feminist art
feminist art theory
gender
gender roles
gender stereotypes
human body
humor
identity
interdisciplinary
intimacy
invisible labor
lactation
love
materiality
maternal
maternal body
maternal bodies
maternal care
maternal desire
maternal experience
memory
menstruation
mess
milk
mother
mother artist identity
mother as artist
mother body
mother/artist identity
mother/child relationship
motherhood and political context
motherhood
motherhood and art
motherhood and art practice
motherhood and creative practice
motherhood and social context
motherhood and studio practice
motherhood as art practice
mothering
mothers
nursing
nursing mothers
objectification
parent
parent artists
parent/child relationship
parenthood
parenting
parents
patriarchy
performativity
personal experience
play
subjectivity
power
public breastfeeding
public space
pumping
queer
queer identity
queer parenting
representation
representations of motherhood
research and art
resistance
ritual
rituals
sexuality
single mothers
single mother
social justice
social practice
stories
storytelling
theory
time
transformation
trauma
vagina
visual culture
woman
women
women and gender studies
women artists
women representation
women's health
women's identity
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
The Lactation Station Breast Milk Bar 2006, 2012, 2016
Imagined Family Portraits 2007 - ongoing
Free Childcare Provided 2013
Fee for Service 2006
Being Green 2009
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 Dobkin
abjection
activism
adulthood
ageing
archive
art
art and research
art making
artist mother
artist parent
artist-parents
artist/mother
artistic labor
artists with children
autobiography
binary tensions
bioethics
biology
birth
birth and death
birth trauma
bleeding
body
body exploration
body transformation
breast milk
breast pump
breastfeeding
breastmilk
Care
censorship
childhood
creative practice
creative strategies
cultural reproducers
culture
curating
curation
curator
curatorial practice
documentation
domestic labor
domestic life
domestic space
domesticity
early motherhood
early parenthood
empathy
ethics
exhaustion
family
family accessible event
family portrait
feminism
feminist
feminist art
feminist art theory
gender
gender roles
gender stereotypes
human body
humor
identity
interdisciplinary
intimacy
invisible labor
lactation
love
materiality
maternal
maternal bodies
maternal body
maternal care
maternal desire
maternal experience
memory
menstruation
mess
milk
mother
mother artist
mother artist identity
mother artists
mother as artist
mother body
mother/artist identity
mother/child relationship
motherhood
motherhood and art
motherhood and art practice
motherhood and creative practice
motherhood and political context
motherhood and social context
motherhood and studio practice
motherhood as art practice
mothering
mothers
nursing
nursing mothers
objectification
parent
parent artists
parent/child relationship
parenthood
parenting
parents
patriarchy
performativity
personal experience
play
power
public breastfeeding
public space
pumping
queer
queer identity
queer parenting
representation
representations of motherhood
research and art
resistance
ritual
rituals
sexuality
single mother
single mothers
social justice
social practice
Stories
storytelling
subjectivity
theory
time
transformation
trauma
vagina
visual culture
woman
women
women and gender studies
women artists
women representation
women’s health
women’s identity
-
https://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://artistparentindex.com/files/original/f0e1dff3fb61f336f392ab3e1919f30d.jpg
a82562d4ffb8875f76de156dbff20bef
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.nicolacanavan.com" target="_blank">http://www.nicolacanavan.com</a>
<a href="http://www.raisingtheskirt.com" target="_blank">http://www.raisingtheskirt.com</a>
<a href="https://www.facebook.com/nicolahuntercanavan/?fref=ts" target="_blank">https://www.facebook.com/nicolahuntercanavan/?fref=ts</a>
Medium
painting
performance art
Location
The location of the interview
Jarrow
South Tyneside
United Kingdom
Artist Statement
<p class="x_MsoNormal"><span>Over the last 10 years I have been developing an artistic practice which is rooted in image making and spans live work, documentations of its products & traces and the re-presentation of these in other forms. With performance at its core, I investigate themes around feminism, abjection and ritual with a focus on interpreting or creating experiences in my own body. I have an active interest in the anthropological body, exploring the ways that social, cultural and political dynamics shape the perception and understanding of the human body and how these interactions are interpreted through social engagement how they are controlled through mass media and the arts.
</span></p>
<p class="x_MsoNormal">In 2014 I created '<a href="http://www.raisingtheskirt.com" target="_blank">Raising the Skirt</a><a href="http://www.raisingtheskirt.com" target="_blank">'</a> in collaboration with Dawn Felicia Knox, which has since had international success being named one of Dazed and Confused's photo series of the year 2015. RTS is a multi-layered arts project which calls for the (re)claiming of the cunt, we are working on representing a diverse and fierce femininity through re-appropriating the defiant act of <em>raising the skirt </em>which is buried deep into many of our cultures.
'Landing in Her Skin' began in the spring of 2015 and aims to document the transition of woman to mother and back again, being a mother comes with its own otherness, this project will follow the lives of women and their ever changing body.<br /><br /></p>
<p><strong>Biography</strong></p>
<p>Born in North East England (UK), Nicola Hunter (formerly Canavan) has been performing and showing work nationally and internationally since 2007 within programmes such as Momentum Festival (Brussels), ]performance s p a c e[ (London), Inbetween Time Festival (Bristol), City of Women (Ljubljana) and SPILL National Platform (Ipswitch). She has collaborated with Predrag Pajdic, Manuel Vason (Double Exposures) and Ernst Fischer and has been awarded the Artsadmin Bursary, the Artists International Development Fund and has been financially supported and mentored by Unlimited, Live Art Development Agency and Pacitti Company.</p>
Topic
feminism
abjection
ritual
aesthetics
motherhood
motherness
human body
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
Nicola Hunter
abjection
aesthetics
feminism
human body
motherhood
motherless
painting
performance art
ritual