Creating a collective; building a community.
In 2014, Georgia O’Keeffe’s Jimson Weed/Flower No. 1 sold at auction for $44.4 million dollars, setting the record for the highest price paid for work by a female artist. This sales record is three times the amount of the previous record, and hasn’t been superseded in the five years since it was set. 44.4 is our number. It splits, divides, shares, carries and builds.
For practicing Mothers/Artists the balance is delicate.
How can we be both mothers and artists? Our energy is siphoned, often spoken for and difficult to keep in our grasp. Mothers/Artists are piecing together time, space, resources, and the cognitive labour to create. How do we simultaneously grow our artistic practices alongside our children in a way that results in our contributions being valued in our community? These are our questions; this is our conversation.
Nashville, 2019, mixed fibre and textile.
Ova (detail), 2016–2019, knitted copper wire, 200 x 200 cm.
Growth, 2019, oil and wax on wood panel, 51 x 76 cm.
From The One with All the Posters Series, 2012-13. 24×36″ 8.5 x 11″ multiple series enclosed with customized rubber band
Nonprofit Leadership, the Gender Gap, and Architect Barbie: A Conversation with Wanda Bubriski By Victoria Solan, Jan 02, 2014.
Click Image to Read Article.
Image Credit: Wanda Bubriski
Floral collection. Sterling silver necklace with floral elements. Double leaf, petal and white freshwater pearl.
Motherhood Still Life #2, 2019. 30.5” x 38”
Mother Earth, 2017. Mixed Media
New Member Spotlight: Jennifer Smith-Windsor
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Elizabeth Raymer Griffin
Orange Averse Study, Photograph, 2019
Sarah Jane Estabrooks
Incoming, 2019, oil on canvas 30 in x 40 in
Sarah Anderson, Painter
Carmen Bohn, Fibre Artist
Jennifer Cherniack, Artist
Sarah Jane Estabrooks, Visual Artist
Sayward Johnson, Artist
Karen Miller, Artist
Andrea Mueller, Metalsmith
Elizabeth Raymer Griffin, Photographer
Lucie Raymond, Painter
Jennifer Smith-Windsor, Fibre Artist
Victoria Solan, Writer/Art Historian