Scholarship & Exhibitions

Books

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.

One response

29 10 2017
October 29: Amalgam – On This Date in Photography

[…] rediscovered the artist in the mid-2000s, US feminist art historian Rachel Epp Buller, with a grant from the Fullbright foundation in 2011, meticulously searched the artist’s […]

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