Published by Louisiana Museum of Modern Art. Edited by Lærke Rydal Jørgensen, Kirsten Degel, Marie Laurberg. Foreword by Poul Erik Tøjner, Kirsten Degel, Marie Laurberg. Text by Marie Laurberg, Neville Rowley, Pia Fris Laneth, Adam Bencard, Marcel Proust, Maggie Nelson, Rachel Cusk, Lydia Davis, Gustave Flaubert, Sylvia Plath, Hans Christian Andersen, et al.
The mother as motif in art and literature, from prehistoric fertility goddesses to the Madonna and Child and beyond
Women, Maternity, and Power in Art and Visual Culture, 1900-2015
Published by Skira. By Massimiliano Gioni.
Through the work of over eighty international artists, The Great Mother aims to analyze the iconography of motherhood in art and visual culture during the twentieth and twenty-first centuries, from early avant-garde movements to the present. Whether as a symbol of creativity or as a metaphor for art itself, the archetype of the mother has been a central figure in the history of art, from the Venuses of the stone age to the “bad girls” of the postfeminist era and across centuries of religious works depicting countless maternity scenes. The more familiar version of “mother” has also become a stereotype closely tied to Italy. In attempting to analyze the portrayal of motherhood, The Great Mother traces a history of female empowerment, chronicling gender struggles, sexual politics, and tensions between tradition and emancipation. The volume combines past and present, juxtaposing contemporary art, historical works, and artifacts from film and literature, weaving a rich tapestry of associations and images. Artists include Magdalena Abakanowicz, Ida Applebroog, Thomas Bayrle, Umberto Boccioni, Louise Bourgeois, Constantin Brancusi, Leonora Carrington, Salvador Dalí, and many more.
Massimiliano Gioni, Italian art critic and curator, is the Director of the Fondazione Nicola Trussardi, as well as the Artistic Director of the New Museum in New York.
Published by DelMonico Books/Colby College Museum of Art. Edited with introduction and text by Shalini Le Gall, Justin McCann. Foreword by Jacqueline Terrassa. Text by Justine De Young, Daniel Harkett.
An intimate look at one of the most radical and groundbreaking printmakers of all time, the American Impressionist Mary Cassatt
Published by Hatje Cantz. Text by Mikkel Bogh, Jacob Fabricius, Marianne Torp.
What does “family” mean today? Which notions and prejudices come to light with it? How is modern family life shaped these days? In her project A Real Danish Family, British artist Gillian Wearing (born 1963) poses these questions in ways that are both artistic and thought-provoking. The eponymous sculpture portrays a Danish family selected from 492 participating families of the most diverse composition. The exhibition Family Stories, opening for the unveiling of the sculpture in the National Gallery of Denmark (SMK) in Copenhagen, also revolves around the family as the crystallization point for human relationships. Photographs, videos and sculptures explore relatedness and identity, and include the artist’s own family as an example. In a series of “self-portraits” the artist uses masks to slip into the roles of her siblings, parents and grandparents. The publication examines Wearing’s work and the theme of the family through the lens of art history, and traces the course of A Real Danish Family, a project that boldly questions patterns of thought in society.
Published by Hatje Cantz. Edited with text by Nancy Borowick. Introduction by James Estrin.
When American photojournalist Nancy Borowick’s (born 1985) parents Howie and Laurel were diagnosed with stage-four cancer and underwent simultaneous treatment, she did the only thing she knew how to do: she documented it. By turning the camera on her family’s life during this most intimate time, Borowick learned a great deal about herself, family and relationships in general. Borowick's father died in 2013, and her mother followed 364 days later. The lessons she garnered from Howie and Laurel were plentiful: always call when the airplane lands, never pass on blueberry pie, and most importantly, family is love and love is family.
“Though it is nothing she would have wished for, in a relatively short time Nancy Borowick became an expert in photographing death.” —The New York Times
Joanna Kirk's pastel paintings relate her experience of motherhood in which beauty is marked out against everyday reality to provide a new perspective on her work and life. Using her fingers to blend colours and build surface, much of Kirk's inspiration is drawn from the Impressionist painters Berthe Morisot and Mary Cassatt for whom domesticity was their given sphere, as well as later artists such as Louise Bourgeois for her ongoing revision of childhood experience. Many of Kirk's works isolate her children in natural landscapes, exposing their vulnerability and something of the dread and magic of fairytales in which children carry the weight of apprehension and that of their parents. In a frank interview with novelist Rachel Cusk, the artist discusses her fear of self-dissolution, and through the competition set up between creative work and maternal duty, the potential for self- identification in motherhood.