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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.
Exhibition Website
<a href="https://www.masseyklein.com/the-end-the-beginning">https://www.masseyklein.com/the-end-the-beginning</a>
Gallery
Massey Klein Gallery
Location
The location of the interview
New York
USA
Curator
Ryan Massey
Curatorial Statement
<span>Massey Klein is pleased to present </span><em>The End & The Beginning</em><span>, a two-person exhibition exploring themes of life and death through works on paper by Alice Gibney and Sarah Irvin. </span><br /><br /><span>Alice Gibney’s illustrations in </span><em>The End & The Beginning</em><span> are humorous explorations of humanoid and animal figures. Her characters twist, rise, dance, and praise; their movement captured through frames as if they are sequences in a stop-motion film. The charcoal, color pencil, and ink on paper drawings range in scale from 1:1 ratio of human proportions to small, intimate sketches.</span><br /><br /><span>Gibney’s works were created in response to a sudden and unexpected loss of a loved one. Her figurative drawings began to blur and erode as the artist’s emotional life and identity spread itself across the paper in a performative gesture of mourning and reflection. Celtic myths, slapstick humor, and Samuel Beckett became the beacons of light that shifted the artist’s perspective and made room for grief to evolve into a new tale. And so these characters were born to tell a new story: one wrought with paradoxes and clumsiness. They belong to a world that is not ours, but has the flavor of somewhere familiar. A tent, a child’s playtime sculpture, synthetic wigs, and exaggerated clothing cover their frames and become their bodies.</span><br /><br /><span>Gibney is a Canadian artist who lives and works in Berlin, Germany. This is her second exhibition with the Gallery.</span><br /><br /><span>Sarah Irvin’s graphite drawings on paper record the experience of new life and motherhood. At various times while breastfeeding, the artist created drawings that codified her daughter's action of eating. Loops go up with a suck and round down with a swallow, transcribing the unreadable language of a baby at the breast. Also while breastfeeding, Irvin used a digital program to track the start time, breast side, and duration of each feeding. From this immense amount of data, the artist created an interactive sculpture resembling a card catalogue that allows the viewer to not only review different sessions, but physically acknowledge the significant amount time and energy needed for an often unacknowledged task. </span><br /><br /><span>In the artist’s rocking chair series, the act of caring for a baby is codified as a form of mark-making. Pieces of graphite hung from the underside of Irvin’s glider rocking chair and created marks on a piece of paper attached to the stationary base. The series began when her daughter was born and was completed the day she turned one. Anyone who used the rocking chair during the first year of the child’s life participated in the creation of the works. In addition to the original works on paper, the Gallery will release a limited print edition of the first and last breastfeeding and rocking chair sessions as well as a small edition of breastfeeding record logs for the collector to “complete” on their own.</span><br /><br /><span>Irvin is an American artist who lives and works in Richmond, Virginia. This is her first exhibition with the Gallery. </span>
Artists
Alice Gibney
Sarah Irvin
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
January 11 - February 17, 2019
Topic
breastfeeding
rocking chairs
infant care
parenting
data visualization
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 End & The Beginning
breastfeeding
data visualization
infant care
New York
rocking chair
USA
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https://artistparentindex.com/files/original/dee2271c94009f18beaea547d71907e0.png
4c78093e9d30b35f2dda3f8582de3eed
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://maternalecologies.ca/" target="_blank" rel="noopener">maternalecologies.ca</a>
Medium
performance
video art
Location
The location of the interview
Edmonton
Alberta
Canada
Artist Statement
Maternal Ecologies uses the frame of performance to recast the daily practices of early motherhood. For 3 years I reflected on, inhabited, and researched my experience of early maternal life through the FLUXUS-inspired format of the instruction piece. Year 1, Action A Day (Maternal Prescriptions) was performed for 84 consecutive days. Year 2, Action A Day (Inhabiting Firsts) was performed for 210 consecutive days. Year 3, Action A Day (Gone/There) was performed for 84 consecutive days. The project ended when my son turned 3.
Topic
daily practice
motherhood
Fluxus
documentation
art and research
infants
infant care
breastfeeding
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://artistparentindex.com/items/show/64" target="_blank" rel="noopener">New Maternalisms - Chile</a>
<a href="http://artistparentindex.com/items/show/65" target="_blank" rel="noopener">New Maternalisms - Toronto</a>
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
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
Natalie Loveless
Alberta
breastfeeding
Canada
curator
daily practice
documentation
Edmonton
infant care
motherhood
research
research and art
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https://artistparentindex.com/files/original/49ed2d09c8f7d03c18a5a48f4845163d.jpg
455a2d6a5c744c18099bc4e5f0bcac11
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.sarahirvinart.com" target="_blank" rel="noopener">www.sarahirvinart.com</a>
Biographical Text
When I started my graduate program in 2013, I was confident that becoming a mother was not compatible with my studio practice. In the middle of my first semester, I began to question this assumption. As an experiment, I assumed the opposite was true, that there was work that I could only make if I was a mother. I was suddenly able to envision not only the work, but also myself in the role of “mother” for the first time. Three months later I was pregnant and I got to work. Creating in this way allows me to form myself in a role of “mother” and in turn motherhood continually redefines my practice. The work opens up dialogues about circumstances that are publicly debated, but only privately experienced.
I measured my stomach with a piece of yarn at navel height the day I found out I was pregnant. I tied the yarn off in a loop. I repeated this every day until the day I went into labor. Every week of the second trimester, I lifted 26 pounds, one pound over the recommended amount a pregnant woman should lift, using a block and tackle pulley system and created a transfer drawing with the impact when it was dropped from nine feet.
I established mechanisms to capture the physical actions of parenting as a mark on a page, beginning while I was in labor. For instance, the area rug in the nursery created transfer drawings as we walked across the room, the glider rocker created drawings as we rocked, and the stroller created drawings as we strolled. These works were enabled by the activities of our daily lives and captured the kinetic energy and labor involved in the care and nurturing of an infant.
During the second and third months of my daughter’s life, I created a series of watercolors exclusively while she slept, with each set considered complete when she awoke, allowing my circumstances to dictate aspects of my creative output. While breastfeeding, I made drawings on paper I created from my bed sheets with looping marks corresponding to individual suck and swallow motions of nursing providing a real-time read out of this experience. I commissioned a reproduction of the plastic measuring scoop that comes in a container of Similac infant formula to be cast from silver baby spoons.
Other iterations of this series include my daughter’s nursery as camera obscura; cyanotypes created with her blankets, toys and clothing; early stages of her own mark-making captured through fingerprint dust; silverpoint drawings tracing her early movements made with jewelry from my grandmother; and paintings made with a baby bottle and formula. As a whole, this project-based work is a personal narrative taking form as poetic visual data.
The works are exhibited as sets and series. An entire year’s action of rocking a baby is a set of 59 drawings made with our rocking chair. One year of walking across a nursery rug is a row of 12 large transfer drawings. Fifty feet of watercolors represent a tiny sampling of the available time during early parenthood when the baby slept. The work visualizes how care taking has shaped me as an individual and how it has transformed my mark making.
I view everything related to the experience of parenthood as a valid subject matter and/or mark making tool and this has opened up new methods of creating. The pieces are derived from the everyday. The interface of specific materials and processes with the everyday provides an entry point into broader topics of gender, production, reproduction, care, biological processes and cultural systems.
Medium
painting
drawing
papermaking
video art
photography
installation
Topics
The topics addressed within the Artist's work.
motherhood
parenthood
breastfeeding
infants and sleep
pregnancy
Location
The location of the interview
Richmond
Virginia
Topic
breastfeeding
motherhood
infants and sleep
pregnancy
baby formula
caretaking
gender and caretaking
domestic labor
maternal ambivalence
Artist Residency in Motherhood
gender equality
home
domestic space
care work
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/274" target="_blank" rel="noopener">Labors</a>
<a href="http://www.artistparentindex.com/items/show/392">The End & The Beginning</a>
<a href="http://www.artistparentindex.com/items/show/452">Extended Self: Transformations and Connections</a>
<a href="http://www.artistparentindex.com/items/show/495">Painting at Night, Fort Houston Gallery, Nashville, TN</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
Sarah Irvin
ambivalence
body
breastfeeding
care work
domestic labor
domestic space
drawing
gender
gender equality
home
infant care
labor
maternal abivalence
maternal body
maternal time
motherhood
mothering
painting
paper
papermaking
repetition
repetitive tasks
ritual
tracking
video