# data[].attributes.attachment_link.title
Haud Mammies Haun | Experimental version

# data[].attributes.body
I made this clay stop-motion to see what a life sized creation could potentially look like.

# data[].attributes.body
I love the way she uses plaster

# data[].attributes.attachment_link.title
Juliana Cerqueira Leite at Arsenal Contemporary NYC – Art Viewer

# data[].attributes.attachment_link.embed_code
Juliana Cerqueira Leite at Arsenal Contemporary NYC

# data[].attributes.body
I looked at an image for 30 seconds and then closed my eyes to see what it looks like with my eyes closed

# data[].attributes.attachment_link.readable_text
"My inclination to paint, especially from life, is a completely political one. We belong here. We deserve to be seen and acknowledged in real time. We deserve to be heard and to be imaged with shameless generosity and accuracy." - Jennifer Packer

This exhibition, the artist's first outside of the US, includes paintings and drawings from the past decade alongside recent work.

Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower still paintings insist on the emotional and physical essence of the contemporary Black lives she depicts. While the casual repose of her portraits is the result of her care for the sitters, Packer acknowledges her choice to paint figures as political, stating: 'Representation and particularly, observation from life, are ways of bearing witness and sharing testimony'.

Jennifer Packer's paintings recalibrate art historical approaches to these enduring genres, casting them in a political and contemporary light, while rooted in a deeply personal context. On occasion, Packer describes her flower compositions as funerary bouquets and vessels of personal grief; these paintings about loss are often made in response to tragedies of state and institutional violence against Black Americans.

Featuring 34 works dated from 2011 to 2020, the exhibition presents portraits of artists from Packer's New York circle, monochromatic paintings, intimate interiors and flower still lifes including Say Her Name (2017), painted in response to the suspicious death of Sandra Bland, a Black American woman who is largely believed to have been murdered while in police custody in 2015. The exhibition also includes drawings which for Packer are rarely just a study but hold a weight of their own that differs from paintings.

Visit our online shop here to purchase a copy of the exhibition catalogue, Jennifer Packer: The Eye Is Not Satisfied With Seeing.

To be kept up to date with ticket releases please sign up to our e-newsletter here
For further information on facilities and access please visit here

Listen to Jennifer Packer in Conversation with Hans Ulrich Obrist

https://serpentine-uploads.s3.amazonaws.com/uploads/2020/03/Jennifer-Packer-x-HUO_mixdown.mp3

# data[].attributes.attachment_link.title
Jennifer Packer: The Eye Is Not Satisfied With Seeing

# data[].attributes.attachment_link.description
New York-based painter Jennifer Packer's first institutional solo exhibition outside of the US.

# data[].attributes.attachment_link.readable_text
In her work, Martha Rosler has often employed-and deconstructed-photographic conventions in ways that examine the authenticity associated with documentary photography and the unbalanced relationship between disenfranchised communities and their visual representations. Here, Rosler uses a combination of images and texts to respond to earlier documentary photographs of vagrants and alcoholics in Manhattan's run-down Bowery neighborhood. Criticizing what she regards as documentary photography's diminished power to motivate change, Rosler juxtaposed photographs of Bowery storefronts with shots of typewritten words associated with drunkenness. The resulting disjunction-between words that refer to an all-too-human state and images devoid of people-suggests the inherent limitations of both photography and language as "descriptive systems" to address a complex social problem. By arranging the work's component parts in a grid, Rosler disrupts the traditional idea that a work of art, hanging by itself in a museum, is to be approached simply as an object of beauty.

# data[].attributes.attachment_link.title
Martha Rosler | The Bowery in two inadequate descriptive systems

# data[].attributes.attachment_link.description
In her work, Martha Rosler has often employed-and deconstructed-photographic conventions in ways that examine the authenticity associated with documentary photography and the unbalanced relationship between disenfranchised communities and their visual representations. Here, Rosler uses a combination of images and texts to respond to earlier documentary photographs of vagrants and alcoholics in Manhattan's run-down Bowery neighborhood.

# data[].attributes.body
Touch
marks left
texture
location

# data[].attributes.body
Lynne Ramsay

# data[].attributes.body
Lynne Ramsay

# data[].attributes.attachment_link.readable_text
Glasgow, summer, 1973. Dustmen are striking; bags of garbage add to the blight of council flats and a fetid canal. Ryan, who's about 12, drowns during a play fight with his neighbor, the jug-eared James. James runs home, a flat where he lives with his often-drunk da, his ma, and sisters, who live in hope of moving to newly-built council flats. The slice-of-life, coming-of-age story follows James as he tags along with the older lads; has a friendship with his quirky wee rodent-loving neighbor, Kenny; spends time with Margaret Anne, myopic, slightly older, the local sexual punching bag; and, has a moment or two of joy. The strike may end, but is there any way out for James? -<jhailey@hotmail.com>

By what name was Ratcatcher (1999) officially released in India in English?

Answer

# data[].attributes.attachment_link.description
Glasgow, summer, 1973. Dustmen are striking; bags of garbage add to the blight of council flats and a fetid canal. Ryan, who's about 12, drowns during a play fight with his neighbor, the jug-eared James. James runs home, a flat where he lives with his often-drunk da, his ma, and sisters, who live in hope of moving to newly-built council flats.

# data[].attributes.attachment_link.description
When Louise Bourgeois’s work was exhibited, male critics balked at its palpable rage. Ten years after she died, her Red Rooms feel more powerful than ever.

# data[].attributes.attachment_link.embed_code
Louise Bourgeois and the art of anger

# data[].attributes.body
Peter Capaldi - Actor
Bryan Elsley - Writer
Simon Massey - Director
David Hayman - Director (of Govan Ghost Story)

# data[].attributes.attachment_link.provider_name
Horrified Magazine - The British Horror Website

# data[].attributes.attachment_link.title
Working Class Horror: Govan Ghost Story | Horrified Magazine - The British Horror Website

# data[].attributes.attachment_link.description
Duncan Gates examines the angry progressivism of the ghostly tale and explores BBC Play One’s 1989 effort, Govan Ghost Story...​

# data[].attributes.attachment_link.embed_code
Working Class Horror: Govan Ghost Story

# data[].attributes.attachment_link.readable_text
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism. Picasso's sizable oeuvre grew to include over 20,000 paintings, prints, drawings, sculptures,ceramics, theater sets, and costume designs. He painted his most famous work, Guernica (1937), in response to the Spanish Civil War; the totemic grisaille canvas remains a definitive work of anti-war art. At auction, a number of Picasso's paintings have sold for more than $100 million. The indefatigable artist has been the subject of exhibitions at the world's most prestigious institutions, from the Museum of Modern Art and Centre Pompidou to the Stedelijk Museum and Tate Modern.

# data[].attributes.attachment_link.title
Shelter Serra | Hands (2021) | Available for Sale | Artsy

# data[].attributes.attachment_link.description
Perhaps the most influential artist of the 20th century, Pablo Picasso may be best known for pioneering Cubism and fracturing the two-dimensional picture plane in order to convey three-dimensional space. Inspired by African and Iberian art, he also contributed to the rise of Surrealism and Expressionism.

# data[].attributes.body
‘My father passed away when I was nine. Ever since then, my emotional inner self has stopped at that age while my outer self continued to grow. The nine-year-old girl would also appear in my life from time to time to take control of my emotions’

‘One scene often repeats itself: I sit at a table together with the girl and my father. They often talked something that I could never hear. But my emotion would always be controlled by them. I am always trapped in the prison of childhood’

# data[].attributes.attachment_link.title
A matter of life and death: Ying Ji's morbid surrealism - in pictures

# data[].attributes.attachment_link.description
Whether it's her father or the victims of Isis, Chinese artist Ying Ji is fixated on death - and also how to thrive in its shadow

# data[].attributes.attachment_link.readable_text
Kollwitz wrote, "I want to have an effect on my time, in which human beings are so confused and in need of help." The wrenching subject of Woman with Dead Child is related to her experiences with families treated by her husband, a physician in an underserved sector of Berlin where disease and childhood mortality were commonplace. Using herself and her seven-year-old son as models, she developed a dense network of fine lines and shadowy textures to dramatize the theme of a mother grieving the death of her child.

Gallery label from 2021

In the early decades of the twentieth century, when modern art became virtually synonymous with colorful abstract painting by artists who were predominantly male, Kollwitz achieved unlikely renown for her figurative, black-and-white prints focusing on the hardships of the working class. Her life spanned a period of wrenching upheavals, from the social ills of industrialization through the traumas of two world wars, and women mourning or protecting children became one of her major themes. Woman with Dead Child, for example, is a particularly devastating expression of the primal maternal bond and the universality of human grief.

Kollwitz used herself and her seven-year-old son as the models for this image, a variation on the Christian pietà in which the Virgin Mary is depicted cradling the dead Christ's body. But the raw, almost animalistic anguish on the mother's face and the abject posture of her naked body depart from the beatific serenity of that tradition and anticipate instead the anxious distortions of German Expressionism. Kollwitz's preoccupation with this subject was fueled in part by her marriage to a physician who served impoverished families in Berlin, where childhood mortality was often a stark reality. The artist developed a dense network of fine lines to create dramatic shadows and highlights, and she experimented with sandpaper to impart rough textures to the surface of the metal printing plate.

Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)

# data[].attributes.attachment_link.title
Käthe Kollwitz. Woman with Dead Child (Frau mit totem Kind). 1903 | MoMA

# data[].attributes.attachment_link.description
Käthe Kollwitz. Woman with Dead Child (Frau mit totem Kind). 1903. Etching with chine collé. composition: 16 1/4 × 18 9/16" (41.2 × 47.1 cm); sheet: 21 7/16 × 27 11/16" (54.5 × 70.3 cm). unpublished. Otto Felsing, Berlin. Acquired through the generosity of the Contemporary Drawing and Print Associates.

# data[].attributes.attachment_link.readable_text
These prints express the raw agony that war inflicts on humanity. In The Widow I a woman hugs herself in anguish. Her rounded form and the tender contact of her massive hands over her chest and abdomen suggest that she may be pregnant, lending further poignancy to her situation. In The Mothers, a group of women locked in tight embrace console each other, while two frightened children peer out from beneath their protective huddle. In The Volunteers, four young men, whose distressed faces and clenched fists betray their sense of doom yet determination, volunteer to fight as they follow a drumming figure with a deathlike mask. Grief and torment pervade each of these images, so graphically conveyed by the crude slashes and gouges of the woodcut medium.

Kollwitz's Seven Woodcuts about War is one of several portfolios of prints by German artists focusing on the savagery of World War I. But rather than show the brutalities of warfare and bombing experienced by soldiers, the artist portrays the emotional responses of civilians. Although her sense of loss was very personal-her younger son Peter was killed in combat in Flanders-Kollwitz presents universal visions of the unending sorrow generated by war for those left behind.

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 113.

Käthe Kollwitz devoted herself to depicting the social and political injustices she witnessed in Germany during the tumultuous periods surrounding World Wars I and II. Trained at the School for Women Artists in Berlin during the 1880s, she turned to printmaking early in her career, feeling that it was the medium most befitting social criticism. During her lifetime, she made two hundred sixty prints, including etchings, lithographs, and woodcuts, some of which were used as poster compositions for various social causes.

The Parents is one from a series of woodcuts about World War I, a popular subject for many artists' print portfolios. Her series continued a tradition of apocalyptic print cycles that, in Europe, reaches back to the sixteenth century. Rather than depicting its violence, however, Kollwitz chose to focus on the emotional damage inflicted on the home front, especially on the women who lose sons, husbands, and brothers. Kollwitz herself never recovered from the death of her son Peter who, only months after joining the German army, was killed in combat in 1914.

Five years after his death, finding herself dissatisfied with lithography, Kollwitz experimented with the woodcut medium, hoping to find a print technique with which she could convey her grief, as well as strengthen and simplify her images. Searching for universal icons for the devastation imposed by war, she exploited the woodcut's inherent qualities to express the raw agony of war on the human psyche, slashing and gouging the wood to heighten the emotional impact of her images, and often silhouetting her black figures against the stark white smoothness of unprinted paper.

Publication excerpt from an essay by Harper Montgomery, in Deborah Wye, Artists and Prints: Masterworks from The Museum of Modern Art, New York: The Museum of Modern Art, 2004, p. 93.

In 1919, Käthe Kollwitz began work on Krieg (War), her response to the tragedies endured during what she called those "unspeakably difficult years" of World War I and its aftermath. The portfolio's seven woodcuts focus on the sorrows of those left behind-mothers, widows, and children. Kollwitz had struggled to find the appropriate means of expression until she saw an exhibition of Ernst Barlach's woodcuts in 1920. Revising each print through as many as nine preparatory drawings and states, Kollwitz radically simplified the compositions. The large-format, stark black-and-white woodcuts feature women left to face their grief and fears alone, with their partners, or with each other.

Only one print, Die Freiwilligen (The volunteers), shows the combatants. In it, Kollwitz's younger son, Peter, takes his place next to Death, who leads the troops in an ecstatic procession to war. Peter was killed in action just two months later. Kollwitz wanted these works to be widely viewed. By eliminating references to a specific time or place, she created universally legible indictments of the real sacrifices demanded in exchange for abstract concepts of honor and glory. The prints were exhibited in 1924 at the newly founded International Anti-War Museum in Berlin.

Publication excerpt from Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.

# data[].attributes.attachment_link.title
Käthe Kollwitz. War (Krieg). 1921-22, published 1923 | MoMA

# data[].attributes.attachment_link.description
Käthe Kollwitz. War (Krieg). 1921-22, published 1923. Portfolio of eight woodcuts (including cover). composition: see child records; sheet (each approx.): 18 3/4 x 25 15/16" (47.6 x 65.9 cm). Emil Richter, Dresden. probably Fritz Voigt, Berlin. Gift of the Arnhold Family in memory of Sigrid Edwards. 470.1992.1-8.

# data[].attributes.headline
I thought she was supposed to live forever 

# data[].attributes.subject
I thought she was supposed to live forever 

# data[].attributes.body
Being parentless by age 7

How did it affect us?

I don't think dad's death affected us much because we were already used to not having him around, I didn't even realise he died near the time our mum died, I thought he died when we were toddlers because he never bothered to see us.

I struggled to come to terms with mums death despite finding her body, I just wanted to believe that the ambulance would fix her no matter how bad it looked. I use to think the ambulance/hospital could cure anything and everything.

I would have recurring nightmares about it, especially in the room where it happened, on the chair.

I got really quiet after it, it was as if I couldn't speak. I couldn't speak in school or meeting new people, I'd only talk to my sister and those in my household. This lasted for years, from primary school up into secondary school (started to work on it in the senior phase). I still struggle with it today but I'm a lot better than I used to be.

I think my speaking, vocabulary and social skills are very behind compared to everyone else, I feel like an idiot. It's hard for me to translate what's in my head into words or text -- that's why I like to use art to express myself and work through these feelings! :))

My sister went through a wild phase, she did a lot of risky behaviours and got herself kicked out... That was honestly a blessing in disguise because she can now fully express herself. She's doing really well now.

My sister, brother and I feel very disconnected from the rest of our family. We felt connected to gran but she's passed away too. Our dad's side rarely talks to us unless it's a formality (like at funerals). Our mum's side is slightly more involved in our lives but we've never felt like we belonged to them. They weren't there for us, it was for our gran and uncle - they'd criticize us and put more pressure on us than they did their own kids...

All of us struggle with mental health problems!
Brother - Autism, health anxiety
Sister - Depression
me - Social and health anxiety

It feels like life went too fast for us. We're supposed to lose our parents and grandparents later in life but it happened to us before my sister and I even graduated Secondary School.

When dating or making friends, it's always awkward when it comes to 'meeting the parents' - I always worry that when I explain the situation, people will look at me negatively.
Although my ex saw 'not meeting the parents' as a positive for him!? It was difficult for me to meet his parents because it was so long since I met a mum - I didn't know how to act.

# data[].attributes.attachment_link.description
Learn about the work and career of artist Jenny Saville. Artworks, biography, exhibitions, editorial content, news, museum exhibitions, press, and more.

# data[].attributes.body
All my milestones have been lonely, anticlimactic and bittersweet. No one is cheering for me but I am? I'm proud of myself. Although, of course i wish i had someone to make proud.

# data[].attributes.attachment_link.title
What Milestones Are Like When You Lose A Parent At A Young Age

# data[].attributes.attachment_link.description
Your feelings about success and achievement likely change.

# data[].attributes.attachment_link.authors[].name
Author Elyse C. Salek, MEd and Kenneth R. Ginsburg, MD, MS Ed, FAAP

# data[].attributes.attachment_link.title
How Children Understand Death & What You Should Say

# data[].attributes.attachment_link.description
Children will be exposed to sickness and death at some point in their young lives because death is part of the natural cycle of life. Even young children who may not understand death react to grieving parents.

# data[].attributes.attachment_link.readable_text
The death of a parent is one of the most traumatic events that can occur in childhood. An estimated 3.5% of children under age 18 (approximately 2.5 million) in the United States have experienced the death of their parent. So how does the death of a parent affect a child?

What Is The Worst Age To Lose A Parent

Grief and pain is not a competition. There is no "worst age to lose a parent". The lifelong impact of losing a parent depends on their relationship before and the support they receive after.

How Does The Death Of A Parent Affect A Child

The death of a parent usually increases the probability of inadequate care and worsens the family economic status.

In some families, that means increased pressures for the grieving child to take on responsibilities of the dead parent and to isolate from friends. In others, parental absence is often accompanied by symptoms of poor psychosocial well-being, changes in behavior, and increase in stress and sleep disturbances.

The psychological effects of losing a mother or a father is also significant. Children who experience parental loss are at a higher risk for many negative outcomes, including mental issues (e.g., depression, anxiety, somatic complaints, post-traumatic stress symptoms), shorter schooling, less academic success, lower self-esteem, and more sexual risk behaviors.

Given the negative long-term effects associated with parental death, it is imperative that the society helps children grieve in a healthy way. However, cultural beliefs and persistent misunderstandings are often standing in the way of appropriate support for children and doing them a disservice.

How Does The Surviving Parent's Reaction Affect A Child

Children look towards their parents to love them unconditionally while protecting them from the uncomfortable realities of life. When a parent dies, life for the child often becomes infinitely scarier and uncertain, leaving the child to wonder what's next.

This understandably places a large burden on the remaining parent, and other family members who want to help the child grieve, while they are also managing their own pain following the death of a loved one.

While some cultures approach bereavement in a positive way, others encourage the adults around grieving children to place their emotions on hold. These cultures often rationalize the practice by citing that children look towards their grownups to remain strong in times of uncertainty.

These adults then have suppressed emotions or repressed emotions.

Suppressing emotions is making a conscious and deliberate attempt to hide emotions from others. A parent or guardian may feel sadness, but instead of expressing it, they decide to hide it while in the presence of their child.

Repressed emotions are often unconscious. Having repressed emotions is a body's attempt to do away with bad thoughts. Repressed individuals may not be consciously aware of their emotions at the moment. These pent-up emotions may eventually spill out over time.

On one hand, research has found that it hinders the healing process for parent and the child. But on the other hand, a study finds that repressed emotions serve an adaptive role in the grieving process.

Whether a parent's emotion suppression or repression is a good coping mechanism is still in debate. A parent's suppressing or repressing may or may not be healthy to their own mental well-being. But what's more important is how their beliefs in emotion negation affects how they help their child deal with the loss.

When the surviving parents believe children are not capable of understanding death or successfully dealing with the emotions and fears it brings, they tend to avoid the topic at home and act "normal" around the child.

But the truth is, children's ability to positively cope with death can be increased by the actions taken by influential adults in the days, weeks, and months following the loss.

Rather than sweeping the issue under the rug and pretending everything is fine, caretakers of the grieving children can use the following strategies to help them cope successfully.

How to Help a Grieving Child

The Family Bereavement Program (FBP) developed by Arizona State University (ASU) is an evidence-based intervention that is directed at parentally bereaved families. It aims to promote resilience of young children and the surviving parents.

Here are the strategies.

1. Normalize the Grieving Process

How the death of a parent in childhood affects a child depends on how the influential adults around them react to their grief. A child who has lost a parent needs to know that it is acceptable to show emotions and talk about the person who died. Normalizing the grieving process is important. It allows kids to reduce anxieties about the future.

Children can feel a variety of emotions following a parent's death, including anger and guilt. They need to know that the death is never the child's fault. It is also normal that the child may think they see or dream about their deceased parent. They don't have to forget about the parents who died.

2. Use Positive Parenting

Quite often, children may communicate their difficulty adjusting to the changes following the death by misbehaving. By using positive parenting, parents create a positive parent-child relationship and an environment that allows for open communication.

Parents who practice positive parenting are warm and supportive. They use effective positive discipline in which the parent is kind and firm. Effective positive parenting can help children's adjustment after their parent's death. It reduces the likelihood of child mental illness like major depression disorder and promotes better adaptation in the bereaved children.

3. Reduce Child Exposure to Negative Life Events

Negative life events following the parental loss are linked to increase in child mental health problems. For example, holidays can be difficult for bereaved families in the first two years, especially the children. Parents can use good listening skills to provide children with a safe environment to talk about their feelings about the holiday.

One area that is often of concern to bereaved children is their parent's beginning to date and develop new long-term love interests. Parents can introduce a new partner or family member slowly. Talk with their children openly and in an age appropriate manner about the relationship.

4. Improve Child Coping Skills

Active coping strategies are associated with more positive adaptation following the death of one or both parents. These strategies include:

reframe negative self-statements into more positive self talk and include optimism

give up the belief that one can control uncontrollable events and identify events one can control

focus on problem solving

seeking out emotional support to help manage stressful situations.

To help bereaved children gain a sense of efficacy, parents can ask their children to set goals in practicing these skills. They can provide specific positive feedback when the kids make use of these strategies. Parents should also express an ongoing belief in their children's ability to deal with their problems.

Bereaved children can feel more helplessness and believe that they have less control over events happening to them than their non-bereaved peers.

Helping children manage this anxiety after losing a parent at a young age can be done by by focusing on teaching children where their responsibilities lie. Promote "an adaptive sense of control by focusing on distinguishing the problems that are the child's 'job to fix' versus the problems that are adult's responsibility".

For example, the remaining parent finds it difficult for themselves to cope with the loss, they should first be honest with the child about their struggles. The parent can then let them know they do not expect the child to help them and will instead go to a trained professional.

Children benefit from hearing that the parent will be able to manage his/or her distress better over time and that their job involves focusing on tasks such as completing homework assignments and spending time with friends.

Final Thoughts on How The Death of a Parent Affects a Child

When working with FBP practices, be mindful that some strategies will work right away and some won't. Allow for grace. Understand that this journey must be taken one day at a time. The pain associated with the loss of a parent will likely never go away completely but the surviving parent and their children will find happiness again.

References

Social Security A. Washington, DC: Office of the Chief Actuary of the Social Security Administration; 2000:1.

# data[].attributes.attachment_link.title
How Does The Death Of A Parent Affect A Child

# data[].attributes.attachment_link.description
The death of a parent is one of the most traumatic events that can occur in childhood. An estimated 3.5% of children under age 18 (approximately 2.5 million) in the United States have experienced the death of their parent. So how does the death of a parent affect a child?

# data[].attributes.headline
Never felt more connected to a scene in my life

# data[].attributes.subject
Never felt more connected to a scene in my life