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    Archived pages: 770 . Archive date: 2014-01.

  • Title:
    Descriptive info: Pritika Chowdhry: Remembering the Crooked Line.. September 4 - October 10, 2009.. For a larger view and/or more information, click on the thumbnails below:.. About the Exhibition:.. ”In my current work, I am exploring cultural forms of memory, and representations of historical trauma.. I am interested in exploring the potential of materials to create commemorative objects that can be vessels of memory.. The primary focus of my art practice is large-scale sculptures and site-sensitive installations that reference the body.. I think of my works as “memory sculptures,” an eloquent term coined by cultural scholar Andreas Huyssen.. Transnational in scope, these works are informed by historical traumas that have become part of the collective memory of a community or a nation.. Installed in experiential environments, they function as mobile and temporary memorials.. In this project, titled.. Remembering The Crooked Line.. , my starting point was an intensive investigation of maps and cartography as technologies of colonization, nation-building, and ethnic divisions.. By extracting real and fictionalized cartographic fragments of the border lines from partitioned countries, and grafting them onto garments and kites, I wish to give material form to the skin of the nation.. This multi-part installation functions as an archive that references and connects the partitions of India, Palestine, and Ireland, all former British colonies that were divided along ethnic lines at the end of British rule, in the aftermath of the Second World War.. I utilize the cross-cultural motif of childhood games, specifically, Ring-a-Ring-a-Roses and kite flying, to engage with these large histories from a personal and individual place.. These games are played in all of these countries as per local customs.. The works in this project place the intimate body in a charged tension with the body of the nation.. I think of maps as the skin of the nation, and clothing as a skin of the absent body.. In each of these objects, I graft maps on these garments, which have been made to look and feel like skin.. The Khadi cotton cloth of the women’s blouses or.. cholis.. has been dyed with tea and stiffened with wax.. It looks like distressed skin and has map lines burnt on it, and the border has been depicted as a burnt rip in the garment.. Jewelry wire has been used to “repair” the fissure but the jewelry has been fashioned to look like barbed wire.. The raw silk of the children’s vests or.. kurti.. has been embroidered with map-like patterns and the border has been depicted with goddess hair, a jute-based material that is actually used on the statues of goddess Durga in Calcutta.. Also stiffened with wax, the hair strikes a jarring, almost obscene note on the innocence of the girls’ bodies.. One set of  ...   the first Prime Minister of Pakistan; David Ben Gurion, the first Prime Minister of Israel; and Patrick Pearse’s Proclamation of the Irish Republic.. National anthems of India, Pakistan, Bangladesh, Israel, Ireland, and the UK form the background score of these speeches.. I think of each of the above components as modular and mobile memorials.. They are designed so that each can be installed individually, or as a unified whole.. When the Ring-a-Ring-a-Roses circles of the women’s.. and the children’s.. kurt.. i are hung in close proximity, they suggest the idea of generational memory.. The kites are hung to cut through and connect each of these circles.. When installed individually, each component can function as a mini-memorial that addresses the monumental through the diminutive.. The title of this project refers to an epic novel by Ismat Chughtai.. The semi-autobiographical plot of this novel is based in the years leading up to the Partition of India in 1947.. The novel traces the life of a Muslim Indian woman, Shamman, from childhood to adolescence to adulthood, who eventually marries an Irishman stationed in pre-partition India as a journalist.. Read as an allegory of the nation, it is unmistakable that Chughtai was making a specific connection with the common histories of British colonization that Ireland and India share.. As a post-colonial text, it is significant in bridging the histories of two former colonies of Britain.. ” - Pritika Chowdhry, 2009.. About the Artist:.. Born and brought up in India, Pritika Chowdhry moved to the U.. S.. in 1999.. She received her MFA in Ceramics and Sculpture from the University of Wisconsin, Madison.. Chowdhry explores cultural forms of memory and representations of historical trauma in her current work.. Working in clay and fibers, she creates sculptural installations that function as mobile memorials.. She has founded the Partition Memorial Project, which exists as temporary art exhibits as well as a digital archive, www.. partitionmemorialproject.. org.. Chowdhry is the recipient of a Vilas International Travel Fellowship, an Edith and Sinaiko Frank Fellowship for a Woman in the Arts, a Wisconsin Arts Board grant, a City of Madison project grant, and a Dane County Commission grant.. Her works are in the.. Erasing Borders 2009.. traveling exhibit organized by the Indo-American Arts Council, which will be shown at the Queens Museum in New York City, the Aicon Gallery in Manhattan, the Visual Arts Center of New Jersey, the Dowd Fine Arts Gallery in SUNY-Cortland, and the Gallery at Penn College, Pennsylvania.. In addition, Chowdhry is showing her works in solo and group exhibits at the DoVA Temporary at the University of Chicago, the Brodsky Center in Rutgers University, Woman Made Gallery and ARC Gallery, both in Chicago, and the Class of 1925 Gallery in Madison, Wisconsin..

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  • Title:
    Descriptive info: Pritika Chowdhry.. Exhibit Installation Views.. NEXT..

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    Descriptive info: Crisanta de Guzman: “We’re not in Kansas Anymore”.. A tornado of valueless currency that threatens suburbia, and non-white pilgrims in Shaker-inspired kitchens, are some of the images I depict to refer to issues like the economic crisis and immigration that are part of American life today.. Trained as an economist, I am drawn to socio-economic issues and address them quite frequently in my work.. My work is rooted in sculpture and I like to work in non-traditional material that directly relates to my chosen theme.. The tornado in “We’re Not in Kansas Anymore” is actually made of hundreds of origami birds folded out of fake million dollar bills.. “Contemplation,” a floor installation that deals with pollution, is composed of rocks made out of heat-blasted garbage bags.. To make my work more accessible to a wider audience, I create digital collages of the sculpture combined with photographs of myself taken with the help of a photographer, Tressa Pack, and appropriated  ...   to a mirror.. “In a Glass Darkly” is composed of quotes from famous women all reflecting on existence and identity.. Looking into the mirror to decipher the text, the viewer is forced to confront their own image and enter into a conversation with these women from the past.. Born and raised in the Philippines, Crisanta de Guzman earned her M.. Phil.. in Development Economics at Cambridge University before working in finance in Hong Kong, Singapore, and New York City.. She started sculpting at New York’s Art Students League and has exhibited nationally and received several awards for her work, which has received attention from Dawn Chan of ARTFORUM and Julie Widholm of Chicago’s Museum of Contemporary Art.. For more information visit www.. crisantadeguzman.. com.. An artist’s talk and fundraiser for the Global Fund for Women will be held at Woman Made Gallery on October 9, 2009, from 6 to 8pm.. All sales will benefit the Global Fund for Women..

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  • Title:
    Descriptive info: Women Imaging Women: A Study of Female Portraiture.. at Robert Morris University.. July 9 - September 13, 2009.. Portraits play a profound role in the development of art history.. From ancient lintels depicting Lady Xok at the Maya site of Yaxchilan to Cindy Sherman�s constructions of identity, portraits of women reflect culture, history, and character formation processes.. Throughout the development of Western art history, images of women fashioned by men relate narratives of femininity.. Portraits by John Singleton Copley of Boston�s elite or Jos� de Alc�bar�s paintings of nuns in commemoration of the affirmation of their vows in Colonial Mexico demonstrate how male artists created histories for specific women through the visual arts.. At the dawn of the twentieth century, women artists became increasingly recognized and in particular, women who depicted fellow women received enhanced attention, notably the painter Mary Cassatt and the photographer Julia Margaret Cameron.. With art historical tradition in mind, �Women Imaging Women:  ...   varied representations as some are abstract and mystical, while others are naturalistic and earnest.. While the show offers a survey of female portraiture and therefore presents contrasting images, many of the works share similarities and invoke pride, confidence, and emanate with both bold meaning and style.. Works by Mary Ellen Croteau, Judithe Hern�ndez, Joyce Owens, and Patricia Pe�a reference the historical past.. Paintings by Pritika Choudhry offer an intimate and haunting depiction of the artist herself.. Photographs by Peggy Gentleman portray women in relatable moments of everyday existence, while photographs by Susan Tennenbaum suggest the fragility, strength, and resilience of teenagers.. Artists who have their work in this exhibition: ATYL, Sarah Baranski, Nicoletta Braccioni, Cat Del Buono, Pritika Chowdhry, Judy Cooperman, Mary Ellen Croteau, Peggy Gentleman, Andrea Ginsburg, Juarez Hawkins, Judithe Hern�ndez, Allison Hill, Shelly Jyoti, Mary King, Lily Mayfield, Sheila Oettinger, Joyce Owens, Patricia Pena, Michelle-Renee Perkins, Joyce Polance, Gay Riseborough, Victoria Szilagyi, and Susan Tennenbaum..

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    Descriptive info: Group Show at Robert Morris College.. The State Street Gallery.. 401 South State Street, Chicago, IL 60605.. Artist Reception: July 9 / 5 - 8 pm..

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  • Title:
    Descriptive info: Kong Xin Shi: Interrelated.. Breathing the Same Air, Walking the Same Earth, Drinking the Same Water.. June 19 - July 23, 2009.. Over half of my life, I have been following the spiritual path of meditation.. Since coming to the West I have been searching for a medium for beings in the West to have a heart-to-heart connection with the spirituality of the East, to find peace and harmony.. Through art I have found this connection, art that conveys spirituality in human terms, humanistic spirituality.. I started by portraying images of the founder of Zen meditation, Bodhidharma.. But now, my sculptures and paintings portray organic forms to convey qualities that all beings share.. All  ...   drink the same water.. All beings have consciousness.. All beings have an equal opportunity to interact within themselves and find self-realization.. In this way all beings are interrelated.. -Kong Xin Shi (SLim).. I wanted to become a physician but instead became a �patient� in a Buddhist monastery and a student at Malaysian Buddhist Institute, Penang, Malaysia for over a decade.. After ordaining as a Buddhist nun, I came to Chicago in 2000 and have been serving and teaching from birth to death in several Asian and American Buddhist organizations and the community at large while earning a B.. A.. degree in art and psychology at Northeastern Illinois University.. For more information: www.. shikongxin.. blogspot..

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  • Title:
    Descriptive info: Sage Dawson: Maps & Metaphysics.. Historically, maps have been used as tools to represent space: to make large things smaller or abstract things more concrete, as well as to consult for travel.. Maps document not only literal representations of land�the distinct identities of spaces, imperialistic expressions of power, and scientific understanding, but also abstract organizational systems, historical development models, states of mind, and world views.. They may be, in a sense, the largest portraits of communities that we have.. To this rich history, I contribute my maps.. Familiar imagery and architectural references encourage viewers to imaginatively inhabit the landscape.. I hope to suggest that history, the production of space, and human experience influence the formation of individual and communal systems of belief, and thus responses to existence in general.. These  ...   a BFA in Painting and Printmaking from Missouri State University in 2005.. Using mixed media, Sage draws from experiences in her individual history, the landscape, and architectural research in Israel (2004) and India (2008).. Sage received an MFA in Printmaking with a minor in Museum Studies from the University of New Mexico in 2009.. There, both in collaboration with the Tamarind Institute and alone, she worked beyond the constraints of the traditional press bed size using multiple panels to create large-scale prints.. She has exhibited nationally and internationally, and was recently awarded a solo exhibition at Woman Made Gallery in Chicago.. Sage�s current work draws upon the history of cartographic rendering: mapping a metaphysical landscape in order to investigate constructed systems of belief, sublimity, and the distinct identities of spaces.. sagedawson..

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  • Title:
    Descriptive info: Lily Mayfield: Intimate Distance.. May 1 - June 11, 2009.. What is it that draws us home? Is it the people who reside there and the relationships that take place within that space? Is it the comfort of knowing you can express the truly quotidian emotions we often suppress such as frustration, exhaustion, and anxiety? Or is it simply familiarity? The photographs in.. Intimate Distance.. depict myself and my husband and the space of home.. These photographs describe a sense of intimacy and yet a feeling of restraint.. There is a desire to connect to each other, while simultaneously desiring to be separate.. reflects a fascination with the emotional or psychological distance between two people despite physical  ...   in Gainesville, Florida.. Lily moved to Chicago in 2004 with her husband and three pets in order to attend graduate school at Columbia College.. She completed an MFA degree in photography from Columbia College in 2007, after receiving a BFA degree in photography with a minor in art history from the University of Florida in 2003.. She is currently an adjunct professor at Columbia College and College of Dupage, and a co-instructor for After School Matters at a local high school.. Her work has been exhibited nationally in group exhibitions.. Lily has received numerous awards including the Society for Photographic Education (SPE) Student Award, the Stuart and Iris Baum Project Completion Grant, and several Getz Graduate Awards.. lilymayfield..

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  • Title:
    Descriptive info: Elzbieta (Elka) Kazmierczak: The Emotional Body.. ”The Emotional Body” is a series of quilted linocuts that portrays womanhood by depicting a journey in search of the boundaries of body, personality, and strength.. It renders the feminine body expressively, relying on compositional and figurative dramatizations.. This series is about the emotional body rather than the logical one.. I use the competition between positive and negative space to form images that do not quickly disclose themselves, but capture attention for the time required to interpret them.. I draw the female body so as to signify identities that have been devoured, depreciated, gutted, and nearly annihilated.. I hope viewers find them compelling and revealing their peculiar beauty.. My work parallels German expressionism and cave painting.. Its correspondence to ancient forms of expression is enhanced by the presence of mythological themes, which function as metaphors.. I chose quilting in combination with printmaking for “The Emotional Body” series to bridge  ...   layers of different fabrics.. I use stitching as a drawing method that communicates.. For instance, blood-red sewing machine tracks echo the look of the military tank tracks that invaded my city at the onset of Martial Law in Poland in 1981.. Elka is a printmaker, book artist, and designer who emigrated from Poland in 1990.. She is a fellow of the Polish Ministry of Culture and Art (1987/88).. She received an M.. F.. in Graphic Design and an M.. in Art Education at University of Illinois at Urbana-Champaign.. For seven years, she was head of the Illustration Program at the University at Buffalo, NY.. She is currently studying for a doctorate in Education at the University of Illinois.. Her prints and artist’s books are in public collections of the National Library in Warsaw, Poland; the Holocaust Museum at Majdanek, Poland; and the Rare Book Collections of several universities in the US.. Artist website: www.. elkadesigns..

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  • Title:
    Descriptive info: Jean Cozier Collection: The Art of Healing.. The Art of Healing is a very personal art collection of works created by survivors of sexual assault and sexual abuse.. It is part of the ongoing efforts by Jean W.. Cozier to collect, display and honor artwork created by courageous individuals who have managed to survive their violations and find healing and empowerment in personal artistic expression.. Jean  ...   the Judith Dawn Memorial Fund for the Arts as a memorial to her cousin, Judith Dawn Hickey, an artist and sexual abuse survivor who died in 1998.. In 2003, she began to collect artwork by other survivors, and has displayed her collection at several fund-raising and awareness events in partnership with local organizations that provide counseling and support services to survivors of rape and sexual abuse..

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  • Title:
    Descriptive info: Tracy Featherstone and Krista Connerly: Dig In, Float Up.. March 6 - April 16, 2009.. Envirotouchers.. Re-imagining the world around you.. Why do I move through my environment in isolation when it is so obviously alive, breathing and reaching out to touch me? When there seem to be such intense opportunities for exchange and interpenetration? I walk down the sidewalk and find the branch of a tree gingerly grazing my cheek.. A lamppost runs its light over my skin.. What happens if I return the caress?.. Dig In, Float Up.. is a response to these questions.. Featuring Connerly and Featherstone�s.. , a series of prototypes for a more connected world,.. seeks to replace rationality with sensuality and isolation with relationship.. Often, we get stuck in a relationship-rut with our environment, wearing down the same path to work and back or ignoring the (arguably) tender call of a car-alarm.. are a series of actions and wearable sculptures that offer a simple and playful solution to this.. Through them we can create new, experimental relationships with our environment; we can dig in, collect, absorb, float, lick, snuggle and ultimately instigate our own actions to build  ...   Featherstone�s work has been featured nationally and internationally.. She has shown at the Wexner Center in Ohio, at the Contemporary Art Center in Cincinnati, at the Corcoran Museum of Art in Washington as well as at the Fringe Festival in Scotland among many others.. Featherstone lives and has a working studio in Hamilton, OH.. She earned a BFA from the University of Cincinnati and a MFA from the University of Arizona.. She is currently an associate professor in Art at Miami University, Ohio.. Krista Connerly::.. Connerly�s work has been exhibited nationally and internationally in places such as Los Angeles, Portland, Chicago, Memphis, Basel, Cairo, Dublin, and Melbourne.. Some of these venues include: The Urban Institute for Contemporary Art in Michigan, The Next Wave Festival in Melbourne, Australia, WOW, Women�s International Film Festival in Sydney Australia, The Los Angeles Center for Digital Art, Banff Centre for the Arts in Canada, and at the Egyptian Ministry of Culture in Cairo.. Connerly lives and works in Portland, Oregon.. She earned her MFA from Carnegie Mellon University and was responsible for developing the Digital Media program at Anderson Ranch Art Center.. Currently she teaches at Oregon State University..

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  • Archived pages: 770