Lex: continuing coverage

13 03 2018

When one embarks on a research-recovery project, part of the hope is always that the research might help the subject to become better known. My exhibition and publication on German artist Alice Lex-Nerlinger are now nearly two years old, which in academic circles can feel like very old news, but I’m excited by the bits and pieces that continue to come to the surface from the project.

lex book cover preview

Jay Clarke recently wrote a lovely review of the book for Fall/Winter 2017 issue of Woman’s Art Journal (which unfortunately isn’t viewable online but they kindly sent me a PDF to share with the museum folks in Berlin).

Lynette Roth, the curator of Inventur: Art in Germany 1943-55, currently on view at the Harvard Art Museums, saw the Lex show back in 2016 and subsequently included Lex in her curatorial project. I won’t get to see the show but I hope to see the catalogue soon.

And there’s a lovely tribute to Lex’s work on the site On This Date in Photography, full of images.


Lex Wrap-Up

30 04 2016

Five years to the week after I first met with the directors of Das Verborgene Museum to consider a collaboration on the work of Alice Lex, I returned to Berlin for the opening of the retrospective exhibition and for the launch of the book. The entire week was highly celebratory and I cannot imagine a better culmination to a years-long project. Highlights of the week: seeing so many of Lex’s works framed and hung together in a single space, for the first time EVER; finally holding the beautifully designed book in my hands, after so many years of research and writing; giving an address in German at the exhibition opening – nerve-wracking but thrilling; gathering with so many friends from near and far to celebrate the opening; meeting with journalists (Tagesspiegel article here); and talking with Lex’s remaining family members, who seemed just as thrilled as I was to see this project reach completion. As an academic, it was truly rewarding to see that this work actually matters to some real people.

First publicity for the Lex exhibition!

18 02 2016

I began the recovery project on German artist Alice Lex back in 2011 when we moved to Berlin for my research. Between research, writing, and planning with museums, it is now five years later and the project is finally nearing completion. These last few months have entailed much editorial back-and-forth, related both to content and to translation issues (since the book will be dual-language, German and English) and I think we are almost at the finish line. The opening of the exhibition has been set for April 13, 2016 and the first publicity has just been released, which can be read in German here, as well as a preview cover of the book, to be published by Lukas Verlag.

lex book cover preview

Scholarship & Exhibitions

20 01 2010


Inappropriate Bodies: Art, Design, and Maternity, ed. with Charles Reeve. (Demeter Press, forthcoming 2019).

Alice Lex-Nerlinger 1893-1975: Fotomonteurin und Malerin / Photomontage Artist and Painter. With Das Verborgene Museum. Berlin: Lukas Verlag, 2016.

Have Milk, Will Travel: Adventures in Breastfeeding, ed. Toronto: Demeter Press, 2013.

Mothering Mennonite, ed. with Kerry Fast. Toronto: Demeter Press, 2013.

Reconciling Art and Mothering, ed. Surrey, UK: Ashgate Publishing, 2012.

Co-author and art editor, Patterns in Western Civilization. Volumes I & II. 4th edition. Boston: Pearson Custom Publishing, 2006.

Journal Articles and Essays in Books/Catalogues (selected)

“’our hopes lie in a time of alliances’: epistolary praxis and transdisciplinary composing.” With Derek Owens. Something Other journal, special issue On Correspondence. (December 2018). https://somethingother.blog/2018/12/14/our-hopes-lie-in-a-time-of-alliances/

“The Social Discomfort of Mother’s Milk.” In Roman Charity: Paintings by Heather Passmore exhibition catalogue. White Water Gallery, North Bay, Ontario, Canada. September 2018, pp. 1-6.

“Traveling Across Time with Gesine Janzen.” Exhibition catalogue essay. Memory Matters: works by Gesine Janzen. (North Newton, KS: Kauffman Museum, 2018), pp. 7-15.

“Interview: Laura Shaeffer.” Cultural ReProducers creative platform. July 9, 2018. http://www.culturalreproducers.org/2018/07/compound-yellow-workspace-drawing-by.html

“On Developing Relationships in the Anthropocene: The Art of Jill Miller.” In Natalie Loveless, ed., New Maternalisms Redux (Edmonton: University of Alberta Press, 2018), pp. 54-77.

“Beyond the Martyrs Mirror: The Prints of Jan Luyken.” Pennsylvania Mennonite Heritage journal of the Lancaster Mennonite Historical Society, vol. 41, no.1 (January 2018): 10-29.

“Presence and Absence in XX/8.” Exhibition catalogue essay. Wichita, KS: Fisch Haus Gallery, 2017, np.

“Experimental Wanderings: A Few Thoughts on Traversing Borders and Boundaries.” Crossing the Line exhibition catalogue. EMU Margaret Martin Gehman Art Gallery, 2017, np.

“Performing the Breastfeeding Body: Lactivism and Art Interventions.” Studies in the Maternal, special issue on The Everyday Maternal Practice: Activist Structures in Creative Work, 8 (2) 14 (2016): 1-15. http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.225/

With Natalie Loveless et al, “Contemporary Mamactivist Artists: A Forum on Maternal Activist Art,” Studies in the Maternal special issue on The Everyday Maternal Practice: Activist Structures in Creative Work, 8 (2) 15 (2016): 1-63. http://www.mamsie.bbk.ac.uk/articles/10.16995/sim.224/

“Paternal Loss and Anticipation: An Artist’s Perspective.” In Natal Signs: Cultural Representations of Pregnancy, Birth and Parenting, edited by Nadya Burton. Toronto: Demeter Press, 2015: 321-34.

“Birthing the American Absurd: Maternal Humour in Contemporary Art.” n.paradoxa: international journal of feminist art, vol. 36 (July 2015): 50-58.

“Primary Concerns.” Exhibition catalogue essay for Kevin Mullins: Primary Concerns. Onondaga College Art Gallery, Syracuse NY. 2013, np.

“Visualizing Motherhood: The ‘Memory Work’ of Mother-Artists.” In Motherhood Memoirs: Mothers Creating / Writing Lives, edited by Justine Dymond and Nicole Willey. Toronto: Demeter Press, 2013: 33-47.

“Family Quilt.” In “Maternal Aesthetics: The Surprise of the Real,” special issue of Studies in the Maternal, vol.5, no.1 (Summer 2013). http://www.mamsie.bbk.ac.uk/

“Visual Literacies of Mothering.” In Mothering and Literacies, edited by Amanda Richey. Toronto: Demeter Press, 2013: 135-44, plus front cover artwork.

“Integrating the Personal and the Professional: Reflections of a Full-Time Academic Mama in the Early Childhood Years.” In Academic Motherhood in a Post-Second Wave Context: Problems, Strategies, and Possibilities, eds. Andrea O’Reilly and Lynn Hallstein. Toronto: Demeter Press, 2012, pp.286-97.

“The Milk Trucker: The ‘Controversy’ of Breastfeeding and an Artist’s Response.” Journal of the Motherhood Initiative for Research and Community Involvement, vol.3, no.2 (Fall/Winter 2012): 84-92.

“Food: The Medium and the Message.” Museums and Social Issues, vol. 6.2 (Spring/Summer 2012): 91-94.

“Controlled Chaos: A Case Study of Photomontage in Weimar.” In Reworking the German Past: Adaptations in Film, the Arts, and Popular Culture, edited by Jenifer K. Ward and Susan Figge. Rochester: Camden House, 2010, pp.39-56.

“XX/4 Fisch Haus Invitational.” Exhibition catalogue essay. Wichita, KS: Fisch Haus Gallery, 2009 (np).

“Adriane Herman’s Lists.” In Adriane Herman: Checking It Twice. Monuments to Intention / Inquiries into Action. Exhibition catalogue. Rockport, Maine: Center for Maine Contemporary Art, 2008, pp.29-31.

“Representing Motherhood: Reading the Maternal Body in Contemporary Art.” In Amber Kinser (ed.), Mothering in the Third Wave. Toronto: Demeter Press, 2008, 186-198.

“Pregnant Women and Rationalized Workers: Alice Lex’s Anonymous Bodies.” In Michael Cowan and Kai Marcel Sicks (eds.), Leibhaftige Moderne: Körper in Kunst und Massenmedien 1918 bis 1933. Bielefeld: transcript-Verlag, 2005, pp.339-353.


Exhibitions (selected)

Taking Care. Upominki. Rotterdam, Netherlands. November 18-25, 2018. (solo)

Listening Across Time. Regier Art Gallery, Bethel College. October 4 – November 2, 2018. (solo)

What We Leave Behind. Lower Level Creative Space, Denver CO. September 4 – October 6, 2017. (solo)

A Hidden Garden. Galeria Zapatista, Mission Grafica. San Francisco CA. May 12 – June 16. 2017. (solo)

After Words. Fisch Haus Studios, Wichita KS. November 27, 2015 – January 31, 2016. (solo)

Paper Cuts. Regier Friesen Gallery, Hesston College. September 9 – October 16, 2015. (solo)

10.14. Robert W. Regier Gallery. Bethel College. September 26 – October 24, 2014. (with David Long)

Through the Eyes of the Mother. Invitational exhibition. Curator: Hye-Seong Tak Lee. Korean Cultural Center. Chicago, IL. February 8-15, 2014.

Those Were the Days. Steckline Gallery, Newman University. Wichita KS. January 27 – February 17, 2012. (solo)

Wunderkammer Portfolio. Southern Graphics Council, St. Louis, MO, March 2011;
University of Louisiana, Lafayette, May 13-June 13, 2011.

Day 2 Day Prints. Arts Center of the Capital Region. Troy, NY. October 29-December 3, 2010.

Tempus Fugit. University of South Dakota, Vermillion. July 5-17, 2010; Mid-America Print Council portfolio exhibition, University of Minnesota, Minneapolis, October 13-16, 2010; Scuola di Grafica, Venice, Italy, spring 2011.

Expanded Identities. Arts INKubator Press. Kansas City, MO. January 8-February 1, 2010. (solo)

We, The Mennonites. Robert Wayner / Black Walnut Gallery. Chicago, IL. March 1-31, 2009.

The Printed Image II. Mulvane Art Museum and Sabatini Gallery. Topeka, KS. August 1-September 19, 2008.

Artist Exchange. Salina Art Center. Salina, KS. August 5-31, 2008.