1
300
8
-
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/b74d38d1e1d4ef8029b9bc1e74e0d4c9.jpg
2b57eef36ea925e0edcf0bfe2c4f64f3
https://artistparentindex.com/files/original/4cc6e73aabba44faa753f02965e00cba.jpg
87e745c3df940f0ec569c5d21bed515a
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="http://bienaldouro.com/artists/heather.passmore/9">http://bienaldouro.com/artists/heather.passmore/9</a>
Curator
Nuno Canelas
Gallery
<a href="http://www.bienaldouro.com/">http://www.bienaldouro.com/</a>
Curatorial Statement
"Milk Portrait #3" is from a series in progress of women who have covered their faces instead of their breasts in protest to admonishment that they should cover up while nursing in public. Common explanations for discomfort with breastfeeding include milk itself as an abject body fluid, or an inability to view breasts outside the scope of sexual gratification. Yet I see this discomfort strongly tied to the cultural diminishment of human interdependency and intimacy - both of which are severed and obscured by the nursing veil.
Artists
<a href="http://www.artistparentindex.com/items/show/105">Heather Passmore</a>
Museum
Duoro Museum
Location
The location of the interview
Rua do Marquês de Pombal, 5050-282 Peso da Régua, Portugal
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
August 10 - October 21, 2018
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
9th International Printmaking Biennial of Douro 2018
Contributor
An entity responsible for making contributions to the resource
Heather Passmore
bienneal
breast milk
breastfeeding
Duoro Museum
Portugal
public space
women
-
https://artistparentindex.com/files/original/afd0bf3b1a3b6a94b878c0579d49ce89.png
1b4be4f2f39ef567753ee2f69d9f71a0
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
<span><a class="in-cell-link" href="http://www.michellehartney.com/" target="_blank" rel="noopener">http://www.michellehartney.com/</a></span>
<div><a href="https://www.michellehartney.com/mothers-right" target="_blank" rel="noopener noreferrer">https://www.michellehartney.com/mothers-right</a></div>
<div></div>
<a href="http://www.michellehartney.com/moms" target="_blank" rel="noopener">www.michellehartney.com/moms</a>
<a href="https://www.michellehartney.com/kimberly-said-no" target="_blank" rel="noopener">https://www.michellehartney.com/kimberly-said-no</a>
<a href="http://www.michellehartney.com/birthwords" target="_blank" rel="noopener">http://www.michellehartney.com/birthwords</a>
<a href="https://www.michellehartney.com/correcting-history" target="_blank" rel="noopener">https://www.michellehartney.com/correcting-history</a>
<a href="http://www.michellehartney.com/anarcha-lucy-betsey" target="_blank" rel="noopener">www.michellehartney.com/anarcha-lucy-betsey</a>
Medium
mixed media
performance art
Location
The location of the interview
Chicago
Illinois
United States
Artist Statement
<p>Michelle Hartney is a Chicago based artist whose work addresses a broad range of topics, from women’s health issues, to the concept of heroes, love, and the cosmos. She works in a variety of materials, including fiber, wood, found objects, and most recently, performance. Her interest in using art to address social issues began during her graduate studies at The School of the Art Institute of Chicago, where she was an Albert Schweitzer Fellow.</p>
<p>In 2015 she became the <a href="http://www.michellehartney.com/improving-birth">Chicago rally coordinator </a>for<a href="http://improvingbirth.org/" target="_blank" rel="noopener">I</a><a href="http://improvingbirth.org/" target="_blank" rel="noopener">mproving Birth's</a> nationwide Labor Day rallies. Most recently, Hartney joined <a href="http://www.everymothercounts.org/" target="_blank" rel="noopener">Every Mother Counts </a>as a<a href="http://www.michellehartney.com/every-mother-counts">running ambassador.</a> With twenty-six years of distance running to draw from, including several marathons, triathlons, and running cross country and track for Purdue University, she is forming a team of men and women to race with and raise awareness about maternal healthcare issues. <a href="http://www.michellehartney.com/every-mother-counts" target="_blank" rel="noopener">Click here</a> for more information about joining her team.</p>
Topic
maternity
feminism
mother/daughter relationship
pregnancy
newborn
healthcare
mothers
women
women's health
maternal healthcare
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
Michelle Hartney
Chicago
feminist
healthcare
Illinois
maternal
maternal healthcare
mixed media
mother/daughter relationship
mothers
newborn
performance art
pregnancy
United States
women
women's health
-
https://artistparentindex.com/files/original/2e06db629289730e56b0703c93c368e3.jpg
9801e7500009a45fbcdb1d7de3c77d9d
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.helenknowles.com/index.php" target="_blank">http://www.helenknowles.com/index.php</a>
Medium
installation
mixed media
screen print
Location
The location of the interview
Manchester
United Kingdom
Artist Statement
<span>HELEN KNOWLES (b.1975) is an artist and curator of Birth Rites Collection. She studied at Glasgow School of Art and Goldsmiths University on the MFA and lives and works in Manchester and London. Recent exhibitions include; Goldsmiths University Interim show, (2015), COLLABORATE! Oriel Sycarth Galley Wrexham, (2015), The Withdrawing Room, Folkstone, (2014), Mokuhanga, Tokyo (2014), ‘Private View : Public Birth’, GV Art London (2013), Women’s Art Library, Kingsway Corridor Programme, Goldsmiths University, London (2013); Life is Beautiful’, Galerie Deadfly, Berlin (2012); Digital Romantics, Dean Clough Gallery (2012) and Walls are Talking, Whitworth Art Gallery (2010). She recently carried out a residency in Moscow/Vishny Volochok with the Moscow Institute of Contemporary Art. Knowles has carried out other residencies at Santa Fe Arts Institute (2013), Gatley Primary (2010), UCLAN (2002) and Jodrell Bank Science Centre and Arboretum (1999-2001). A recipient of awards from Arts Council England, The Amateurs Trust and winner of The Great Art Prize, Neo Art Prize (2012). Her work is held in public and private collections including, The Joan Flasch Artist Book Collection, Winchester Special Collections, The National Art Library, RCA and GSA Special Collections, The Whitworth Art Gallery, Tate Library and Archive, Museum of Motherhood, New York and Birth Rites Collection.</span>
Topic
birth
homebirth
childbirth
pregnancy
women
motherhood
social media
censorship
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
Helen Knowles
birth
censorship
childbirth
homebirth
installation
Manchester
mixed media
motherhood
pregnancy
screen print
social media
United Kingdom
women
-
https://artistparentindex.com/files/original/accbbb35cdd952b8f36894b64958f599.jpg
178a9fe4c388a01cf88a4586c9eb6dc8
https://artistparentindex.com/files/original/65c32696d032bd3edaf1ab0a26d59107.pdf
530169cce6592bdb12a9867f68e63abb
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
<span><a class="in-cell-link" href="http://pollypenrose.com/" target="_blank">http://pollypenrose.com/</a></span>
Medium
photography
Topic
self portrait
female body
femininity
women
social norms
objectification
pregnancy
Artist Statement
Polly Penrose studied Graphic Design at Camberwell College of Arts in London. She went on to work in Fashion Styling and after that worked for the photographer Tim Walker as his Studio Manager. She has always taken photographs, but started to take the practice seriously when she entered and won a competition held by the London Photographic Association in 2008. She held her first solo show, ‘A Body of Work’, at the Downstairs at Mother Gallery, London, in May 2014. She was part of a group show, Dear Sylvia, at the Australian Centre for Photography in Sydney, March 2015 and the Hellerau Photography Award, in February 2016. She was shortlisted for the D&AD Photography Next Photographer Award in April 2015. Her work has featured on Dazed Digital, The British Journal of Photography, The Huffington Post, and many other influential blogs.
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
Polly Penrose
female body
femininity
objectification
photography
self portrait
social norms
women
-
https://artistparentindex.com/files/original/1a88d85b2bf6c806e0c4f1984f0ef64b.png
c975f9c913405edf91fac51bceea3dfa
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.
Name
Arzu Ozkal
Claudia Costa Pederson
Nanette Yannuzzi
Website
The Artist's website
<a href="http://homeaffairs.website/about/" target="_blank">http://homeaffairs.website/about/</a>
Artist Statement
Art and caregiving intersect in the rhetoric of “labor of love”. In the art world, this belief is embodied in stereotyped notions of the artist. We are all familiar with them. There is the starving artist, the crazy artist, the hermit artist. And then there is the childless artist. Automatically assumed to be a woman, the childless artist is center stage among the handful of women art stars. As the discourse goes, this is because art making is an all-consuming undertaking antithetical to childrearing.<br /><br />By contrast, representations of ‘woman’ as caregiver abound in art. Images of the passive, self-less, self-sacrificing Madonna are emblematic. That both stereotypes overlay retrograde gender hierarchies and divisions of labor in art and care is corroborated by the numbers. According to a June 2015 article in ARTNews, the statistics relative to the number of women artists represented in major art museums and galleries remains dismal with the Hayward Gallery in the UK being the worst. Only 22 percent of their solo exhibitions were devoted to women in the past seven years. In the U.S., the Metropolitan Museum appears to suffer from a particularly harsh time warp. It appears that in 2012 only 4 percent of the artists they supported with exhibitions were women and that figure is worse than their 1989 figures. France isn’t far behind these bad boy scores. The Centre Pompidou has only dedicated 16 percent of its exhibition to women since 2007. Parallel statistics report that women continue to bear the brunt of housework chores and child care. One recent government-funded survey suff ices to put this in perspective: “men typically do about 9.6 hours of housework each week; women typically do about 18.1 hours. When it comes to child care, men average about 7 hours a week while women put in about 14 hours.”<br /><br />It appears then that the labor of love rhetoric permeating art making and caregiving is nothing but a metaphor for unpaid labor. And because of societal expectations, women artists are most impacted. Art institutions can and must play a role in changing these dynamics. The point is not to include women merely as tokens, but to structurally account for and support artists who are also caregivers.
Topic
feminism
gender stereotypes
child care
caregivers
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
Home Affairs
caregivers
child care
feminism
gender stereotypes
women
-
https://artistparentindex.com/files/original/3bcaf60332871978877b5215d1cab2b7.jpg
6f805b187de96e5b783e4cf62a2d3322
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 Organization Database
Service
An organization supporting artist parents.
Topic
motherhood
women
mothering
online resource
About
In our contemporary ceramic community many women have gracefully tackled the lively experiment that is being both artist and mother. Mothering is a complex subject that touches many aspects of an artist’s life and practice. These dual roles simultaneously impact each other both practically and conceptually. As many women have discovered, to experience maternity is to epitomize the vessel. This along with clay’s often-recognized metaphoric relationship to the stages of life itself, provides artists who utilize clay in their work a unique perspective on the art/motherhood lively experiment.<br /><br />Over the past year(s), Kate Fisher has been surveying, interviewing and documenting a cross section of ceramic artists who are also mothers. Examining how children, or the circumstances of their lives as they include them, changed and impacted the work these artists choose to make and/or how they make it. <br /><br />The goal of <a href="http://www.bothartistandmother.com" target="_blank">www.bothartistandmother.com</a> is to present an ongoing digital record of interviews and stories from women ceramicists. The hope is that this project will provide insight and encouragement to talented female artists, which in turn impacts the field’s future. Initially the site includes profiles of 11 artist/mothers.This is important, because it encourages talented female artists, which in turn impacts the field’s future. Initially, the site includes profiles of 11 artist/mothers. The hope is to repeat the interview process with additional artist/mothers in the future. Site visitors are able to listen to or download interviews with the artists, read transcriptions of the dialogues and view links to related events, information, and exhibits. The site’s flexible format will accommodate an ever-expanding narrative and exchange of stories, questions, and advice designed to help artists communicate.
Organization Website
<a href="http://www.bothartistandmother.com" target="_blank">www.bothartistandmother.com</a>
Organzation Director
Kate Fisher
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
Both Artist and Mother
motherhood
mothering
online resource
women