All posts tagged: Woman Made Gallery

Body Passages: Lani T. Montreal and Maxine Patronik on Developing “Blood Memory”

Published by Marya Spont-Lemus

This is the third article in an ongoing series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first and second are online). This series gives brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. In September, I spoke with writer Lani T. Montreal and dancer/choreographer Maxine Patronik about their collaborative process; their resulting piece, “Blood Memory,” about trauma and bodily memory; and their thoughts about artists’ responsibility when presenting work with sensitive themes. This interview has been edited for length and clarity. Lani and Maxine’s final creation – along with those by other Body Passages groups – were performed at a culminating event at the Chicago Danztheatre Ensemble Auditorium on October 12 and 13. Marya Spont-Lemus: It was so cool to get to observe you today at work on “Blood Memory,” your piece-in-progress for Body Passages. So thank you! Before we get into discussing that collaborative piece and your process, I’d love …

A Look at Woman Made Gallery's 14th International Open

Published by Lindsey Anderson

For nearly twenty years, Woman Made Gallery has ceaselessly promoted and supported the artwork of women in Chicago. A not-for-profit organization sustained largely by volunteerism, the gallery has nonetheless managed to host regular educational programs, workshops, and exhibitions in its airy, two-story space, and last week it welcomed the public to its 14th International Open.   The opening reception, which took place on Friday, March 4th, was a resounding success. Crowds of art enthusiasts braved wind and freezing rain to admire the works of 37 artists from the U.S. and abroad. Many of the artists were present during the opening, and guests were encouraged to approach them with questions about their work. Chicago based artist Joanna Moscoco —decked out in a strange ensemble made from second-hand Mary Kay bags—drew a particularly impressive flock of gawkers. Moscoco’s face was almost entirely obscured by her creation, and her arms were completely encased in fabric. According to Moscoco, her piece, Mary Kay Protection Device, makes a cynical jab at the way in which humans often transform objects into …

Girl, Please: Looking Forward

Published by Nicolette Caldwell

Girl, Please is an exhibition that attempts to push the boundaries and blurred lines of contemporary social politics relating to gender and sexual identity. Situated in the lower level of Woman Made Gallery, Emanuel Aguilar and Kristen Carter (jurors and curators) selected a body of art work based not only on aesthetic qualities and the nature of the work but also arranged the layout in such a way to create a specific relationship to potentially ignite critical conversation. This exhibition is one of few focusing on this theme that effectively attempts to eloquently add and synonymously strip away the standard. And instead, focus on a new way to think critically.

Joyce Owens

Published by Tempestt Hazel

In February of 2010 the College Art Association held the 98th Annual CAA Conference in Chicago, Illinois.  Before the conference, panelist Joyce Owens took a moment to answer a few questions about the future of her art practice, the Women’s Caucus for Art panel she will be serving on, which asks “Are women only institutions and spaces still necessary?”. 1. Briefly tell me about yourself. What is your current role in the arts and how did you get there? I am a visual artist, a professor and curator for my university (Chicago State University). Huge question; the answers start from childhood. I made art from childhood. Lucky for me, people thought I had “talent” even then and I was not discouraged from pursuing art. I studied art at Yale University (MFA) and Howard University (BFA) and have always taught in schools, city programs and camps. I decided to start curating shows for Sapphire and Crystals when I was the artist who identified the venues, except one time. I had ideas I wanted to implement. It’s …