1
300
11
-
https://artistparentindex.com/files/original/86189bae00843446fd77049978457161.jpg
cad767d50e8ba8a73498a24ebfef29cd
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://jengeorgescu.com/portfolio-item/mother-series/" target="_blank" rel="noopener">http://jengeorgescu.com/portfolio-item/mother-series/</a>
Topic
Ongoing conceptual series relating to my experience of Motherhood.
motherhood
artist parent
artists with children
conceptual art
contemporary art practice
displacement
family life
family
domestic life
family heritage
feminist art
loss of identity
loss of self
Madonna
Maternal Theory
Medium
photography
Artist Statement
In 2015, I became a mother. I was prepared for the grueling labor, and sleepless nights, but the loss of my sense of self can as a surprise. I had no time to think and I began to feel like a shell of a person. My early days of motherhood were alienating and awful as well as sentimental and dear. I began to see myself as defined only by a relationship. I felt that my son was an appendage of myself; the embodiment of self and other. It was hard to accept that he was a growing, changing person while I was to remain forever split. When he is near my thoughts are entangled around him and when I am away I cannot seem to be the person I was before.<br /><br />A child is how we remain on Earth; they are our legacies. As I see my son grow I feel my time begin to speed up; I feel my decay. When we think about birth we must realize our death. Motherhood is precious and raw; wonderful and dark.
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
Jennifer Georgescu
Title
A name given to the resource
Jennifer Georgescu
artist parent
artists with children
conceptual art
contemporary art practice
displacement
domestic life
family
family heritage
family life
feminist art
loss of identity
loss of self
Madonna
maternal theory.
motherhood
photography
-
https://artistparentindex.com/files/original/4b32a4115b15440ec312046212055c9c.jpg
8ca13fa078e21763d4a310d71a0d7973
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Exhibition Website
<a href="https://www.baxterst.org/exhibitions-3/bodies-of-work/" target="_blank" rel="noopener">https://www.baxterst.org/exhibitions-3/bodies-of-work/</a>
Gallery
Baxter ST Camera Club of New York
Location
The location of the interview
New York
New York
Curator
<a href="http://www.artistparentindex.com/items/show/416" target="_blank" rel="noopener">Corinne Botz</a>
Curatorial Statement
Bodies of Work, a group show curated by Corinne Botz, considers maternal experiences, with works by contemporary artists Marina Berio, Patty Chang, Lenka Clayton, Jamie Diamond, Nona Faustine, Alison Elizabeth Taylor, and Cao Yu. The artworks are stylistically diverse and incorporate a range of approaches, exploring inter-related themes including the body, time, politics, love, attachment, and separation. Normative and coherent ideals of motherhood are challenged, and the maternal is considered as a vital political force.
There has been a surge of artworks, books, and articles about motherhood over the past few years. To paraphrase a recent Paris Review article by Lauren Elkin, motherhood is finally being taken seriously in wider arts and a canon of motherhood is beginning to take shape. The subject of motherhood is urgent in the current political climate where there is a need to guarantee women control over their bodies. Women have begun to speak more candidly about health issues and biological processes that have in the past been cloaked in secrecy. Recent news articles have revealed bias against pregnant women and mothers in the workplace, and in spring 2018 the United States stunned the world when it declined to back a seemingly uncontroversial resolution to support breastfeeding in underdeveloped countries. For much of art history the subject of mothers were represented by men. Earlier generations of female artists often chose a career over motherhood or steered clear of explicitly addressing motherhood in their work because it was dismissed.
In this exhibition, maternal experiences, both overtly and obliquely, are transmitted into works that challenge preconceptions about being a mother and artist, while acknowledging the continued lack of resources and obstacles. The artists in Bodies of Work contribute something new to representations of motherhood, and offer an opportunity to delve deeper into the multiplicities that shape us.
Artists
Marina Berio
Patty Chang
<a href="http://www.artistparentindex.com/items/show/44" target="_blank" rel="noopener">Lenka Clayton</a>
Jamie Diamond
Nona Faustine
Alison Elizabeth Taylor
Cao Yu
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
April 16 – April 27, 2019
Topic
artist mother
art making
artists with children
attachment
separation
artist/mother
blood
breast milk
breast pump
breastmilk
body
care giving
care labor
care work
caretaking
caregiving
conceptual art
early motherhood
emotional space
empathy
environment
everyday life
familial heritage
female body
female experience
feminism
feminist art
loss
love
life balance
lactation
intimacy
maternal body
maternal experience
maternal desire
milk
menstruation
motherhood and creative practice
mother's body
mortality
mixed-race children
performativity
pumping
space
subjectivity
photography and motherhood
physical space
still life
women artists
work/life balance
workspace
masculinity
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
Bodies of Work
-
https://artistparentindex.com/files/original/8570fa25d23e183681a3890079b1f356.jpg
6a042cf446c1f4b0b92654d169573202
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://www.corinnebotz.com/milk-factory2" target="_blank" rel="noopener">https://www.corinnebotz.com/milk-factory2</a>
Medium
photography
video
Location
The location of the interview
Brooklyn
New York
Artist Statement
Seeing and acknowledging what we see has an ethical dimension. I use photography to
make things visible and to reveal experience or spaces that we might not otherwise have access to. A sustained focus on space, gender, and the body is central to my work with photography. Lactation rooms are everyday spaces that embody deeply felt subjective experiences of motherhood. Symbolically and materially, expressed milk is a substitute for the mother’s physical presence and emotional intimacy when separated from her child. Photographs in my series “Milk Factory,” offer insight into women’s personal experiences, the maternal body’s status in the workplace, and ideological contradictions inherent in modern parenthood and government policies. The photographs are named for the diverse professions of the pumping women. The solitary pumping rooms take on collective power through the accumulation of photographs.
Topic
caretaking
labor
artist mother
art making
attachment
separation
breastmilk
breast pump
body
care giving
care labor
care work
caregiving
conceptual art
early motherhood
emotional space
empathy
environment
everyday life
familial heritage
female experience
feminism
feminist art
loss
life balance
lactation
intimacy
maternal body
maternal experience
maternal desire
milk
mother's body
pumping
space
subjectivity
solitary
government policy
workplace
photography and motherhood
physical space
work/life balance
workspace
wage
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/417" target="_blank" rel="noopener">Baxter ST Camera Club of New York</a>
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
Corinne Botz
-
https://artistparentindex.com/files/original/6732e0f09bdc141fa8b163c8e4fb4623.jpg
40e732b85bb1eb38630eaf8c50ba1ba4
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.
Location
The location of the interview
Berlin
Germany
About
MATERNAL FANTASIES is an evolving and interdisciplinary group of international artists and cultural producers based in Berlin, Germany. We (re)connected in 2018 to share experiences and insights into the most marginalised topic within both the art world and feminist discourse: Motherhood.
We join forces to embrace, discuss, elaborate and express contrasting experiences and family stories, memories, fantasies, desires and horror scenarios related to ‘Maternal Fantasies’.
Currently we meet every three-weeks to examine through artistic research, collaborative artworks and lived experience the dynamics between artistic creation and motherhood seeking to shape the discourse of motherhood through our artistic working process.
We are an organic group that produces works in different constellations between the individual group members.
Current group members are: Aino El Solh, Hanne Klaas, Isabell Spengler, Lena Chen, Magdalena Kallenberger, Maicyra Leão, Melanie Schlachter, Mikala Hyldig Dal, Olga Sonja Thorarensen, Sandra Moskova.
Organization Website
<a href="https://www.maternalfantasies.net/">https://www.maternalfantasies.net/</a>
Website
The Artist's website
<a href="https://www.maternalfantasies.net/">https://www.maternalfantasies.net/</a>
Medium
photography
video
performance
collective
creative writing
Artist Statement
MATERNAL FANTASIES is an evolving and interdisciplinary group of international artists and cultural producers based in Berlin, Germany. We (re)connected in 2018 to share experiences and insights into the most marginalised topic within both the art world and feminist discourse: Motherhood.
We join forces to embrace, discuss, elaborate and express contrasting experiences and family stories, memories, fantasies, desires and horror scenarios related to ‘Maternal Fantasies’.
Currently we meet every three-weeks to examine through artistic research, collaborative artworks and lived experience the dynamics between artistic creation and motherhood seeking to shape the discourse of motherhood through our artistic working process.
We are an organic group that produces works in different constellations between the individual group members.
Current group members are: Aino El Solh, Hanne Klaas, Isabell Spengler, Lena Chen, Magdalena Kallenberger, Maicyra Leão, Melanie Schlachter, Mikala Hyldig Dal, Olga Sonja Thorarensen, Sandra Moskova.
Topic
academic writing
ambivalence
anger
art
art and research
art history
art making
artist collective
artist mother
artist network
artist residency
artist/mother
artistic labor
artists with children
artists with children
binary tensions
body
capitalism
care
care labor
care work
caretaking
choreography
collaboration
collaborative project
community
discourse
contemporary art practice
costume
creative strategies
curatorial practice
daily practice
daily routine
daily tasks
domestic objects
domestic scene
domestic space
economy and caregiving
empathy
ethics
everyday activities
fair wages
relationship
feminism
feminist art
feminist art theory
feminist theory
feminist theory
gesture
identity
ideological motherhood
immigration
instinct
intuition of motherhood
interdependence
interdisciplinary
intergenerational
intersectionality
labor
maintenance
maternal
maternal affect
maternal ambivilance
maternal anxiety
maternal body
maternal bodies
maternal care
maternal collaboration
maternal defense
maternal desire
maternal experience
maternal fear
maternal guilt
maternal healthcare
maternal identity
maternal labor
maternal lineage
maternal mental health
maternal practice
maternal protection
maternal relationships
maternal subjectivity
maternal theory
maternal thinking
maternal time
maternal voice
maternal work
practice-led research
race
representation
representations of motherhood
reproductive labor
resistance
single mother
skillshare
social practice
story telling
studio practice
subjectivity
text
theory
time
women representation
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
M1, Arthur Boskamp Stiftung, Hohenlockstedt, April 2019 The photo-text installation "Like so many..." was exhibited at "Colleagues Wanted I - Superheroines and visionary associates for everyday challenges", at alpha nova galerie Berlin in September 2018.
upcoming: Soloexhibition, M1 Arthur Boskamp Foundation, Hohenlockstedt, March 2020 catalogue, Maternal Fantasies, to be published March 2020
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
maternal fantasies
-
https://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://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/7be9d42c6621aed4dd2891926803b603.png
abbefbc5fb6ad97865859a8553e0b502
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
Resource Library
Book
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Author
Mary Kelly
Publisher
Routledge & Kegan Paul
Date of Publication
1983
ISBN 13
9780710094957
ISBN 10
0710094957
Topic
art and motherhood
feminist art
mother-child relationship
maternal desire
maternal identity
Lacan
formation of a mother
embodied motherhood
motherhood as social construct
language
acquisition of language
psychoanalysis
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
Post-partum Document
acquisition of language
embodied motherhood
formation of a mother
Lacan
language
Mary Kelly
maternal identity
mother/child relationship
postpartum
postpartum document
psychoanalysis
-
https://artistparentindex.com/files/original/933a0b0c93289a814f31ed9a6adc50ba.png
64f2acaebbc039863b2f41ca8687567a
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
Resource Library
Book
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Publisher
Ariadne's Thread
Date of Publication
November 15, 2015
Topic
child free
childlessness by choice
childlessness by chance
prejudice against childless women
childless women
women without children
feminist art
Author
<a href="http://www.artistparentindex.com/items/show/250" target="_self">Miriam Schaer</a>
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
The Presence of Their Absence
-
https://artistparentindex.com/files/original/8f74b9cc5916aeb8936dfaf4d390aecf.jpg
34b0132e13eb6e7905b57af64177262d
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
Exhibition Archive
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Event Type
Exhibition
Exhibition Website
<a href="http://www.performanceart.ca/index.php?m=program&id=226" target="_blank">http://www.performanceart.ca/index.php?m=program&id=226</a>
<a href="http://www.newmaternalisms.ca." target="_blank">newmaternalisms.ca</a>
Location
The location of the interview
Toronto
Ontario
Canada
Curator
<a href="http://artistparentindex.com/items/show/104" target="_blank">Natalia Loveless</a>
Curatorial Statement
<div><span>New Maternalisms</span><span> is a multi-pronged project conceived of by art historian, curator, and conceptual and performance artist </span><a href="http://www.artdesign.ualberta.ca/Faculty_and_Staff/Faculty/Natalie_Loveless.aspx" target="_blank"><span>Natalie S. Loveless</span></a><span> in 2010. It consists of three curated exhibitions (</span><span>New Maternalisms</span><span> in 2012, held at the </span><a href="http://www.mercerunion.org/" target="_blank"><span>Mercer Union</span></a><span>; </span><span>New Maternalisms Chile</span><span> in 2014, co-curated with</span><a href="http://www.artes.uchile.cl/noticias/40662/soledad-novoa-la-mujer-a-la-que-hay-que-tratar-con-cuidado" target="_blank"><span>Soledad Novoa</span></a><span>, and held concurrently at the </span><a href="http://www.mac.uchile.cl/" target="_blank"><span>Museo de Arte Contemporáneo </span></a><span> and the </span><a href="http://www.mnba.cl/617/w3-channel.html" target="_blank"><span>Chilean National Museum of Fine Arts</span></a><span> in Santiago de Chile; and </span><span>New Maternalisms Redux </span><span>in 2016, held at the University of Alberta’s </span><a href="http://www.artdesign.ualberta.ca/fab_gallery.aspx" target="_blank"><span>FAB Gallery</span></a><span>), satellite events surrounding these (most notably the colloquium </span><span>Mapping the Maternal: Art, Ethics, and the Anthropocene, </span><span>co-organized with </span><a href="http://sheenawilson.ca/" target="_blank"><span>Dr. Sheena Wilson</span></a><span>), an individual three-year artistic research project, </span><a href="http://www.maternalecologies.ca/" target="_blank"><span>Maternal Ecologies</span></a><span>, </span><span>and publications (both catalogues and critical writings).</span></div>
<div> </div>
<div><span>The first <em>New Maternalisms</em> exhibition asked: Forty years after the intervention of feminist art, what is the experience of the daughters of that era who have become mothers? </span><span>What are the discursive and material differences between early maternal artworks of the 1970s and those being produced in the first two decades of the 21st century? How might a return to the discourses that shaped the birth of feminist art help reshape how to think about the contours of political and activist art in today's cultural climate? </span><span>Grounded in these questions, this exhibition brought together a group of artist who use performance to bring attention to the embodied, biological, and material enmeshment of early maternal practice in the context of feminist art theory and practice today.</span></div>
<div> </div>
<div><span>This second iteration of </span><span>New Maternalisms</span><span> was a co-curation with the Chilean curator Soledad Novoa. It brought together North American and European artist (curated by Loveless) with Chilean artists (curated by Novoa) to stage an international conversation on the status of the maternal in contemporary art. These works reflect the expressed need of many artists to find creative ways to integrate their practices as mothers, artists, curators, writers and teachers. By taking seriously the need to create from local conditions and materials, these practices give visibility and value to motherhood </span><span>in</span><span> art and </span><span>as</span><span> art.</span></div>
<div> </div>
<div><span>New Maternalisms Redux</span><span> is the third and last in the </span><span>New Maternalisms</span><span> exhibition series (following Toronto 2012 and Santiago 2014). These exhibitions feature performance and project-based artists working with the maternal as a contemporary political and affective force. </span><span>New Maternalisms Redux</span><span> features five artists culled from the first two exhibitions, each of whom have been investigating the maternal, iteratively, for years. A three-day colloquium, </span><a href="http://newmaternalisms.squarespace.com/colloquium" target="_blank"><span>Mapping the Maternal: Art, Ethics, and the Anthropocene</span></a><span>, will be held in conjunction with the exhibition and include a number of prominent voices on feminist art and the maternal today (including Mary Kelly and Dr. Griselda Pollock as keynote participants). This colloquium, open to the public, brings crucial thinking on the anthropocene and anthropogenic climate change together with thinking on the maternal as metaphor, practice, and politics.</span></div>
Artists
<a href="http://artistparentindex.com/items/show/24" target="_blank">Jill Miller</a>
<a href="http://artistparentindex.com/items/show/160" target="_blank">Alejandra Herrera Silva</a>
Lovisa Johansson
Marlene Renaud-B
Hélène Matte
<a href="http://artistparentindex.com/search?query=lenka+clayton&submit_search=Search" target="_blank">Lenka Clayton</a>
Beth Hall and Mark Cooley
Masha Godovannaya
Gina Miller
Dillon Paul & Lindsey Wolkowicz
Victoria Singh
Alice de Visscher
Christine Pountney
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
Fri March 23rd - Sun March 25th
Topic
feminist art
maternal
motherhood
maternity
art and activism
Gallery
<a href="http://www.mercerunion.org/" target="_blank">Mercer Union</a>
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
New Maternalisms - Toronto
feminism
feminist art
maternal
maternity
motherhood
performance works
political art
video works
-
https://artistparentindex.com/files/original/4a5daa183dcc3c21fcd52dac95f50c3f.jpg
718e48a6f5c4d42c5a012aa1490a7e9f
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
Exhibition Archive
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Event Type
Exhibition
Exhibition Website
<a href="http://www.newmaternalisms.com/2014-overview/" target="_blank">http://www.newmaternalisms.com/2014-overview/</a>
<a href="http://www.newmaternalisms.ca." target="_blank">newmaternalisms.ca</a>
Location
The location of the interview
Santiago
Chile
Curator
<a href="http://artistparentindex.com/items/show/104" target="_blank">Natalie Loveless</a>
Soledad Novoa Donoso
Curatorial Statement
<div><span>New Maternalisms</span><span> is a multi-pronged project conceived of by art historian, curator, and conceptual and performance artist </span><a href="http://www.artdesign.ualberta.ca/Faculty_and_Staff/Faculty/Natalie_Loveless.aspx" target="_blank"><span>Natalie S. Loveless</span></a><span> in 2010. It consists of three curated exhibitions (</span><span>New Maternalisms</span><span> in 2012, held at the </span><a href="http://www.mercerunion.org/" target="_blank"><span>Mercer Union</span></a><span>; </span><span>New Maternalisms Chile</span><span> in 2014, co-curated with</span><a href="http://www.artes.uchile.cl/noticias/40662/soledad-novoa-la-mujer-a-la-que-hay-que-tratar-con-cuidado" target="_blank"><span>Soledad Novoa</span></a><span>, and held concurrently at the </span><a href="http://www.mac.uchile.cl/" target="_blank"><span>Museo de Arte Contemporáneo </span></a><span> and the </span><a href="http://www.mnba.cl/617/w3-channel.html" target="_blank"><span>Chilean National Museum of Fine Arts</span></a><span> in Santiago de Chile; and </span><span>New Maternalisms Redux </span><span>in 2016, held at the University of Alberta’s </span><a href="http://www.artdesign.ualberta.ca/fab_gallery.aspx" target="_blank"><span>FAB Gallery</span></a><span>), satellite events surrounding these (most notably the colloquium </span><span>Mapping the Maternal: Art, Ethics, and the Anthropocene, </span><span>co-organized with </span><a href="http://sheenawilson.ca/" target="_blank"><span>Dr. Sheena Wilson</span></a><span>), an individual three-year artistic research project, </span><a href="http://www.maternalecologies.ca/" target="_blank"><span>Maternal Ecologies</span></a><span>, </span><span>and publications (both catalogues and critical writings).</span></div>
<div> </div>
<div><span>The first <em>New Maternalisms</em> exhibition asked: Forty years after the intervention of feminist art, what is the experience of the daughters of that era who have become mothers? </span><span>What are the discursive and material differences between early maternal artworks of the 1970s and those being produced in the first two decades of the 21st century? How might a return to the discourses that shaped the birth of feminist art help reshape how to think about the contours of political and activist art in today's cultural climate? </span><span>Grounded in these questions, this exhibition brought together a group of artist who use performance to bring attention to the embodied, biological, and material enmeshment of early maternal practice in the context of feminist art theory and practice today.</span></div>
<div> </div>
<div><span>This second iteration of </span><span>New Maternalisms</span><span> was a co-curation with the Chilean curator Soledad Novoa. It brought together North American and European artist (curated by Loveless) with Chilean artists (curated by Novoa) to stage an international conversation on the status of the maternal in contemporary art. These works reflect the expressed need of many artists to find creative ways to integrate their practices as mothers, artists, curators, writers and teachers. By taking seriously the need to create from local conditions and materials, these practices give visibility and value to motherhood </span><span>in</span><span> art and </span><span>as</span><span> art.</span></div>
<div> </div>
<div><span>New Maternalisms Redux</span><span> is the third and last in the </span><span>New Maternalisms</span><span> exhibition series (following Toronto 2012 and Santiago 2014). These exhibitions feature performance and project-based artists working with the maternal as a contemporary political and affective force. </span><span>New Maternalisms Redux</span><span> features five artists culled from the first two exhibitions, each of whom have been investigating the maternal, iteratively, for years. A three-day colloquium, </span><a href="http://newmaternalisms.squarespace.com/colloquium" target="_blank"><span>Mapping the Maternal: Art, Ethics, and the Anthropocene</span></a><span>, will be held in conjunction with the exhibition and include a number of prominent voices on feminist art and the maternal today (including Mary Kelly and Dr. Griselda Pollock as keynote participants). This colloquium, open to the public, brings crucial thinking on the anthropocene and anthropogenic climate change together with thinking on the maternal as metaphor, practice, and politics.</span></div>
<p> </p>
Artists
Catalina Bauer / Amelia Ibanez
Yennyferth Becerra
Carolina Hernández
<a href="http://artistparentindex.com/items/show/160" target="_blank">Alejandra Herrera Silva</a>
Loreto Pérez
Ángela Ramirez
Gabriela Rivera
Alejandra Ugarte
Ximena Zomosa
<a href="http://artistparentindex.com/items/show/44" target="_blank">Lenka Clayton</a>
Leena Kela
<a href="Courtney%20Kessel" target="_blank">Courtney Kessel</a>
Tanya Lukin-Linklater
<a href="Irene%20Lusztig" target="_blank">Irene Lusztig</a>
Hélène Matte
<a href="http://artistparentindex.com/items/show/24" target="_blank">Jill Miller</a>
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
June 25th - June 28th, August 27th
Topic
feminist art
motherhood
maternity
maternal
mother/daughter relationship
political art
activist art
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
New Maternalisms - Chile
Chile
feminism
feminist art
maternal
maternity
mother/daughter relationship
motherhood
political art
Santiago