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[1] Kate Gilmore (artist) internal link

http://www.kategilmore.com/ External link

Her work Baby, You Belong to Me (2006) is a one minute thirty second video consisting of a women's feet in red flats dangling from a black cord in front of a heart spray painted wall.

Kate Gilmore received a BFA from Bates College and an MFA from the School of Visual Arts in 2002. She has had solo exhibitions at venues including Artpace, San Antonio; Maisterravalbuena Galeria, Madrid; White Columns, New York; and Real Art Ways, Hartford. In 2009 her work was on view at Franco Soffiantino Arte Contemporanea, Turin Italy, and last summer Gilmore’s performance art piece Walk the Walk, sponsored by Public Art Fund, was filmed in New York City’s Bryant Park. Selected group exhibitions include Environments and Empires, Rose Art Museum at Brandeis University, Waltham (2008); Reckless Behavior, J. Paul Getty Museum, Los Angeles (2006); Greater New York 2005 and Greater New York: 5 Year Review in 2010, PS1 Contemporary Art Center/MoMA, Long Island City; and 2010 Whitney Biennial, Whitney Museum of American Art, New. Gilmore was recently awarded the Rome Prize, American Academy in Rome, Italy (2007); the Louis Comfort Tiffany Foundation Award, New York (2009), and Lower Manhattan Cultural Council Award for Artistic Excellence, New York (2010).

  1. ^ "KATE GILMORE". KATE GILMORE. Retrieved 2022-11-29.

Early life

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The grammar and flow of the original was pretty rough so I also worked on editing that as well as adding internal links to the previous information.

Kate Gilmore (artist)

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From Wikipedia, the free encyclopedia

Kate Gilmore (born 1975) is an American artist working in video, sculpture, photography, and performance. Gilmore's work engages with ideas of femininity through her own physicality and critiques of gender and sex. Gilmore lives and works in New York City, NY and is Associate Professor of Art+Design at SUNY Purchase. Gilmore has exhibited at the 2010 Whitney Biennial, the Brooklyn Museum, The Indianapolis Museum of Art, White Columns; Contemporary Arts Center (Cincinnati), Artpace, The J. Paul Getty Museum, The Rose Art Museum, PS1/MoMA Contemporary Art Center, The Moscow Biennial, Moscow, Russia (2011), The Everson Museum, Syracuse, NY, The Aldrich Contemporary Art Museum, Ridgefield, CT (2014), MoCA Cleveland, Cleveland, OH (2013), Public Art Fund, Bryant Park, New York, NY (2010), and the Institute of Contemporary Art, Philadelphia, PA (2008).[1]

Contents

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Early life and education[edit]

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Born in Washington, D.C., Gilmore attended Bates College in Lewiston, Maine, graduating in 1997 with a double major in European history and art.[2] Gilmore received her masters of fine arts in 2002 from the School of Visual Arts in New York.

Work[edit]

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Gilmore's work explores female identity, struggle, and displacement; being the protagonist in her video work, Gilmore "attempts to conquer self-constructed obstacles." Challenging herself by engaging in and performing physically demanding actions typically of destruction, Gilmore exaggerates the absurdity of these actions by frequently dressing in overtly feminine attire such as floral-print skirts and colorful high heels. Described as messy and chaotic, Gilmore's work gives a contemporary revision on feminine and hardcore performances that started in the 1960s and 1970s with artists like Marina Abramović and Chris Burden as they relate to exploring the limits of what the female body is capable of.[3] She typically works in male dominated art movements such as abstract expressionism and minimalism while exploring themes of contemporary art tropes. “The videos, performances, and sculptures of Kate Gilmore forge relational encounters that rearrange our thinking about structures of power. Gilmore’s protagonists which are exclusively female within the videos and are almost always herself, attack the ways in which we perceive gendered notions of strength, authority and control in our social arena.” [4]

Her sculptures are typically made of wood, plaster, Sheetrock, ceramics, and paint. Using traditional materials in a more contemporary way, Gilmore "transforms the materials into a narrative character". Then she uses her body, sledgehammers, shoes, etc. as tools for her creative process. Her titles are typically derived from pop songs and cliches.[2] Her titles and stereotypically teenage feminine imagery has caused some to dub her work "adolescent drag".[5]

Although she has a background in sculpture, Gilmore shifted to a focus on performance after noticing that visitors to her studio were as interested in her personal life and belongings as much as in her art.[6] Gilmore current works are largely video pieces and live performances that often showcase herself, though her work as a sculptor is often evident. In Gilmore's videos, she "re-imagines female agency in the post-postmodern world. Starting in 2004, Gilmore's video piece entitled My Love is an Anchor showcases the artist herself beating on a cement filled bucket with her leg stuck inside; hearing her grunts and groans and she attempts to escape, the video ends with no real footage of the artist escaping. Her first art show was with Exit Art in an exhibition entitled "The Reconstruction of Biennial" where a photo of her work was published in The New York Times, which she credits as being a crucial part in creating more opportunities for her creative career.[7] Her filmography is integral to her works. In videos including Between a Hard Place (2008), Main Squeeze (2006), and Every Girl Loves Pink (2006), the videos are shot very near the subject, highlighting the restricting claustrophobic nature of the performance environment. The installation "Hopelessly Devoted" (2006) at Brooklyn's Pierogi, the camera is positioned in such a way that instils the footage with the qualities of a home video or documentary, adding to the raw emotion of the unscripted work.

Gilmore's work also addresses human rights activism. In 2006 her essay entitled "Art Rights are Human Rights" was published to The Drama Review. The essay explores the idea of art being a human right essential for, integral and equal to all other human rights. [8]

In some pieces, Gilmore casts other women to perform the acts, such as her piece Walk The Walk (2010)[6], which is also Gilmore's first live public performance piece. In Walk the Walk, Gilmore charges sets of seven identically dressed women to constantly move around an eight foot square cube positioned on a pedestal eight feet above the ground in a test of endurance. In the work, Gilmore raises the uniform women and their tedious yet essential actions to a position that viewers "literally look up to" as an opening inside the cube allowed visitors to view the women overhead.

In the series of exhibits STEP UP at Real Art Ways (2005) with Jonathan Grassi and Joo-Mee Paik, Gilmore again is the sole protagonist in performances in which she engages in wordplay, acting out common expressions such as "Double Dutch" and "Heart Breaker."

Her performance piece "Beat" (2017) at the On Stellar Rays gallery in New York with fellow artist Karen Heagle, featured waist-high, red enameled metal cubes distributed throughout the gallery space. These cubes became props for weekend performances, featuring Gilmore and other female performers, who "stomp, kick and pound on the Minimalist boxes with a slow, steady rhythm, so oppressively loud that it fills the gallery with an echoing beat of warning and feminist-tinged rage."

In 2019 Gilmore staged the 26 hour live performance The Yellow Walk in Coral Springs, Florida. The piece was apart of a collection of five total public art projects sponsored by Bloomberg Philanthropies as part of the annual Public Art Challenge. The performance was one of five public art installations intended to provide healing support in the aftermath of the 2018 Parkland shooting at Marjory Stoneman Douglas High School. Performers walked down an 800-foot-long yellow carpet in light pink shirts silk-screened with a yellow heart on the back. The work encouraged members of the public to join the performers as an act of solidarity and companionship while continually walking up and down the large carpet.[9][10]

Due to her unrelenting nature with her work, Gilmore's pieces make the viewer feel as though she's accepted a ridiculous dare. Gilmore's work is often based in humorous and uncomfortable physical struggles while wearing hyper feminine clothing. Her performances and videos of them are reminiscent of "Freudian processings", and suggest a naïve girl who always wears her delicate dress and high heeled shoes, even when facing twisted situations, effectively conjuring "metaphors that recall the theater of the absurd." In this, highlighting the harmful absurdity of gender norms.[11]

Residencies and awards[edit]

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  • 2018
  • 2015
    • Art Prize/ Art Juried Award, Grand Rapids, Michigan [13]
  • 2014
    • Rauschenberg Residency Award, Rauschenberg Foundation, Captiva, FL
  • 2012
    • Art Matters Grant, New York, NY [14]
  • 2010
    • Lower Manhattan Cultural Council Award for Artistic Excellence, New York, New York
    • “In the Public Realm”, Public Art Fund, New York, NY
  • 2009
    • Louis Comfort Tiffany Foundation Award, New York, New York
    • Marie Walsh Sharpe Space Residency, Brooklyn, NY [15]
  • 2006
    • Franklin Furnace Fund for Performance, New York, NY[16]
  • 2005
    • The LMCC Workspace Residency, New York, NY[17]

See also[edit]

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References[edit]

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  22. ^ "Awards 2009". louiscomforttiffanyfoundation.org. Retrieved 2016-07-04.

My cited sources list for my edits:

  1. ^ Cite error: The named reference :0 was invoked but never defined (see the help page).
  2. ^ a b Fig, Joe (2015). Inside the Artist's Studio (1st ed.). New York, New York: Princeton Architectural Press. ISBN 978-1-61689-304-0.
  3. ^ Weil, Harry J. (2011-11-01). "Old Themes, New Variations: The Work of Kate Gilmore". Afterimage. 39 (3): 6–8. doi:10.1525/aft.2011.39.3.6. ISSN 0300-7472.
  4. ^ "2018 | Kate Gilmore: In Your Way | WSU Museum - Events | Washington State University". Retrieved 2022-12-14.
  5. ^ Fisher, Anna Watkins (2012). "Like a Girl's Name: The Adolescent Drag of Amber Hawk Swanson, Kate Gilmore, and Ann Liv Young". TDR (1988-). 56 (1): 48–76. ISSN 1054-2043.
  6. ^ a b Heartney, Eleanor; Posner, Helaine; Princenthal, Nancy; Scott, Sue (2013). The Reckoning: Women Artists of the New Millennium. New York, NY: Prestel. ISBN 978-3-7913-4759. {{cite book}}: Check |isbn= value: length (help)
  7. ^ Nieves, Marysol, ed. (2011-10-03). Taking AIM!: The Business of Being an Artist Today. Fordham University Press. doi:10.2307/j.ctt13wzxxq.8.. ISBN 978-0-8232-4434-8. {{cite book}}: Check |doi= value (help)
  8. ^ Gilmore, Kate (2006). "Art Rights Are Human Rights". TDR (1988-). 50 (4): 190–191. ISSN 1054-2043.
  9. ^ Russon, Jen (2019-11-06). "New York Artist Rolls Out the Yellow Carpet for the Latest Public Art Installation – Parkland Talk". parklandtalk.com. Retrieved 2022-12-14.
  10. ^ Cascone, Sarah (2019-11-05). "How One Performance Artist in Florida Is Bringing Together a Wounded Community With a Little Help From Michael Bloomberg". Artnet News. Retrieved 2022-12-14.
  11. ^ Creative, James Nicnick, Kudu. "Kate Gilmore's "With Open Arms"". Allentown Art Museum. Retrieved 2022-12-14.{{cite web}}: CS1 maint: multiple names: authors list (link)
  12. ^ "2018". Anonymous Was A Woman. Retrieved 2022-12-14.
  13. ^ Cascone, Sarah (2015-10-13). "Kate Gilmore Wins ArtPrize's $200,000 Award". Artnet News. Retrieved 2022-12-14.
  14. ^ "2012 Grantees | Art Matters". www.artmattersfoundation.org. Retrieved 2022-12-14.
  15. ^ "1991-2013". Sharpe-Walentas Studio Program. Retrieved 2022-12-14.
  16. ^ "List of Fund Winners 1985-2021". Franklin Furnace. Retrieved 2022-12-14.
  17. ^ "Alumni". LMCC. Retrieved 2022-12-14.

External links[edit]

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  • http://www.kategilmore.com/
  • https://web.archive.org/web/20130405084429/http://www.kategilmore.com/index.html
  • http://www.creativetime.org/programs/archive/2009/ctimes/P5.html
  • https://web.archive.org/web/20130531064900/http://www.realartways.org/archive/openCall/StepUp/Gilmore.pdf
  • Broken Dishes: Kate Gilmore in Conversation with Dina Dietsch, http://artjournal.collegeart.org/?p=6144
  • "Head-on Collision", New York Magazine
  • SVA NYC
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