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Black uses mostly traditional art-making materials such as plaster, paint, paper and chalk in her work. Her sculptures are 'almost' or 'only just' objects and skirt the mediums of sculpture, painting, performance art and installation, often mixing large scale with a fragility of form. She utilises and plays with the physical properties of a wide array of materials, which she seeks to use in an aesthetically pleasing in an unusual way.

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when reflecting on the 'tact' exhibition and seeing how my work was treated when left in an open space free to the world it had me thinking about the possibility of the future of my work and where it could go. I want to continue the work on and just observe and inspect how the pompoms would be treated when the viewers are giving no rules regarding the artworks. This was also inspired when seeing the reaction of children to the pompoms and how they'd almost see them as pets and toys they'd get attached to.
Seghal shows you must experiment to what extent the audience is willing to engage and the results will be ever changing based on particular audiences levels of comfort.

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An artwork that takes the form of a salon in which six players enact a conversation game in which each point begins with a statement from the history of political and social thought. Visitors are engaged to participate in the discussion that follows, and thereby help construct the endlessly renewable philosophical practice that the work generates

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Seghal relies on viewers engagement in his works and performances, they viewer has to participate or experience the work in order for the work to function. Focus' on the fleeting gestures and social subtleties of lived experience rather than on material things.

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Seghal does not authorise reproduction of his work in any form. But he did agree to record a movie with Hans Ulrich Obrist.

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Artist forbids any reproduction of his artworks | LIVE ART # 6 - Tino Sehgal, Palais de Tokyo

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German artist who is known for 'constructing situations'. He is also a choreographer who makes routines for museum settings.

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German artist who is known for 'constructing situations'. He is also a choreographer who makes routines for museum settings.

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Scottish sculptor who works in making 3D artworks that explore the physicality of materials in order to understand and communicate with the world around us.

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Scottish sculptor who works in making 3D artworks that explore the physicality of materials in order to understand and communicate with the world around us.

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Important embroidered portrait to represent the fight for women's rights in Ireland, with huge significance to the fibre art revolution and reclaiming embroidery for women's empowerment. 

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Important embroidered portrait to represent the fight for women's rights in Ireland, with huge significance to the fibre art revolution and reclaiming embroidery for women's empowerment. 

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The intersecting and overlapping strands of colour are evocative of the complexity of the struggle for women’s rights in Ireland.  Siobhan and the thousands of individual stitches represent all the women affected by the Eighth Amendment and those that fought to repeal it. The portrait acknowledges and commemorates these women on a national platform.

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Sarah first heard Siobhan speak at the Repeal march on international women's day, they went on to meet each other 3 days after the referendum result. Sarah requested to do a portrait of Siobhan and created a portrait that  shows her strength and relief after the referendum result.
Sarah completed the portrait in just two weeks, the medium of embroidery was chosen due to the significance of it being associated with keeping women busy in the home.

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Quiet Revolution, 2018, embroidery on canvas.

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Quiet Revolution, 2018, embroidery on canvas.

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Portrait of a doctor, mam and campaigner for terminations for medical reasons (TFMR), Siobhan Donohue. During Siobhan's third trimester of her pregnancy she received a diagnosis of fatal fetal anomaly. A difficult decisions to not continue with the pregnancy was made and due to the Eight Amendment she was forced to travel to the UK to get the care she needed.

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Consists of 16 ladders at different angles throughout the gallery. Lambie placed mirrored inserts between the ladders rungs, which results in compound reflections that are not instantly detectable, and he has painted the ladders in a rainbow of psychedelic colors that bounce off each other and the mirrors, giving the room an overall radiance.

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Lambie uses readily available materials for his sculptures that have qualities in common such as colour and finish and then they sometimes relate to our everyday lives. Like the way 'Plaza' simply uses plastic bags filled with paint pinned to wall. The bags eventually burst open causing the paint to spill out onto the floor.

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This piece has existed in numerous different forms in numerous locations. Every recreation of this piece is unique in the way it responds to its surrounding architecture. Zobop consists of different widths of colour vinyl tape that is applied directly to the floor.
Relative to my practice in how the pompoms can continuously evolve and exists in numerous spaces, especially with how the layout of the pompoms respond to the area it engulfs.

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Researching Lambie in relation to my practice as his work shows a great interest in psychology of colour and space. He reflects his everyday surroundings and make impressive references to to contemporary society while also giving a personal glimpse into his working process and experiments in his studio.

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Scottish artist who works in installations and sculpture, shortlisted for turner prize in 2005.

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Scottish artist who works in installations and sculpture, shortlisted for turner prize in 2005.

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After college Lambie worked in non-traditional gallery spaces, his work is full of references, both metaphorical or ironic regarding pop culture, art history and music.

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Coined the term "femmages" which were collages assembled from fabrics. Schapiro's first studio was very much a women's decorated home. Schapiro monumentalized her fabric cabinet and its significance for women, in numerous large femmages. This was her poetic version of the representation of continuous changes and repetitions in all women's bodies and lives

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Schapiro incorporates craft elements into her art practice due to her paintings connection with women and femininity. Schapiro's work represent Schapiro's identity as an artist working in the center of contemporary abstraction and simultaneously as a feminist being challenged to represent women's "consciousness" through imagery. She began to use icons associated with women like flowers, hearts, patterns and the colour

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Canadian born artist who works in painting, sculpture and printmaking. Schapiro was a pioneer of feminist art. Was also a leader of Pattern and Decoration art movement.

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Canadian born artist who works in painting, sculpture and printmaking. Schapiro was a pioneer of feminist art. Was also a leader of Pattern and Decoration art movement.

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Macushla Robinson writes about feminized labor, notably emotional labor and care work, and how these have been traditionally unpaid and thus sidelined and unimportant. This unpaid labor, generally performed by women, extends even to the art world, she writes. Read Robinson in partial below, in full via Runway.

Contemporary artist and essayist Hito Steyerl says 'apart from domestic and care work-art is the industry with the most unpaid labour around. It sustains itself on the time and energy of unpaid interns and self-exploiting actors on pretty much every level and in almost every function. Free labour and rampant exploitation are the invisible dark matter that keeps the culture sector going'.[1] This labour, as Steyerl points out, is largely performed by women.

There are two ways in which women's labour is undervalued in the creative industries: the visible, calculable pay gap, and the invisible, unaccounted for labour that keeps this luxury market afloat.

That women are paid less for their work than men is well documented: many outspoken advocates for women in the arts, most famously the Guerrilla Girls but more recently Pussy Galore and CoUNTess, have pilloried museums and galleries for their lack of representation of women artists. It is not simply that museums are biased, but that they are part of a biased ecosystem.

Where price tags and inclusion in major exhibitions are quantifiable, the free labour and rampant exploitation that Steyerl speaks of is, by its very nature, undocumented: it happens in the realm of interpersonal relationships; in the studio, the gallery or late at night on a laptop in bed; in long, unaccounted for hours and work brought home from the office on maternity leave. It happens in conversations and meetings where women must appear subtly more humble, more efficient, more dedicated than any of their male counterparts. Such labour cannot be accounted for by statistics alone.

In the past three decades, housework, care work and other forms of gendered labour have become the focus of first-world feminist attention. The economic unit of the family is the site of the accumulation of capital. Dividing labour along gender lines within filial structures, this evolving system has nurtured a situation in which men do (or did) wage-work and provided financial support for woman, whose biological capacity to bear children coupled with the social pressure to rear them precluded them from such work. This does not mean that women do not perform labour, but that their labour is unpaid.[2]

In his recent book Capitalism in the Web of Life, David W. Moore draws on an old distinction between capitalism's 'exploitation' of paid labour and 'appropriation' of unpaid labour. The capitalist system appropriates various forms of unpaid labour and energy that support the employed workforce and make capitalist exploitation possible. Women's work is appropriated by capitalism to first give birth to, then feed, clothe and otherwise care for the waged workforce. Borrowing from feminist critiques of capitalism, Moore invokes the phrase 'social reproduction' and then extends it to the natural world, asking 'where does the 'social' moment of raising children end and the 'biological' moment begin?'[3] Just as capitalism relies on appropriating the socially reproductive capacities of women, it also relies on appropriating the biologically reproductive capacities of non-human agents such as rivers, minerals, oil mined from the earth.

Where men have historically been associated with intellect, logic and technology, women have been associated with nature. Western history is filled with images of women as the producers of life, with biological cycles are likened to seasons. This association is double-edged. On the one hand, as Simone de Beauvoir so powerfully argued in her 1954 book The Second Sex, the idea that women are closer to nature has been instrumental in their subordination.[4] Sociologist Sherry Ornter summarises this elegantly in Is female to male as nature to culture? [5] Women's pan-cultural second-class status could be accounted for, quite simply, by postulating that women are being identified or symbolically associated with nature, as opposed to men, who are identified with culture. Since it is always culture's project to subsume and transcend nature, if women were considered part of nature, then culture would find it 'natural' to subordinate, not to say oppress, them.

This association is both well established and widely critiqued. In the time since de Beauvoir's text was published, two distinct positions emerged: broadly the anti-essentialist feminism that follows de Beauvoir's insistence that 'One is not born but becomes a woman'[6] and a counter-position that endorses the understanding of men and women as fundamentally different and frames this difference as a source of potential power. The goal of essentialist feminism is not to elide the difference between men and women and thus to establish equality, but rather to maintain the difference and to invert our culture's focus on the traditionally male qualities of logic and intellect.

The affiliation of women with nature has found its supporters among many late 20th century forms of feminism, and has crept into what is now termed 'eco-feminism', which sees ecological degradation and the oppression of women as linked.[7] Ecofeminism often attempts to invert a hierarchy, asserting the importance of nature over humankind and our dependence on it, and mobilising the traditional alignment of women with nature as a feminist project. As Sarah Milner-Barry writes, the ubiquitous phrase Mother Nature 'has come to represent the twinned exploitation of all that patriarchal society considers to be inferior to men. As such, both are expected to be perpetually available to them, and to be accepting and accommodating of their desires'. [8] The understanding of women as close to nature is behind the fact that women's work is undervalued.

Feminist activist and scholar Maria Mies gives an account of the oppression of women within the capitalist system, subscribing to a gender-essentialism that aligns women (and oppressed colonies) with nature. Peppered with the phrase 'mother nature', this text essentialises capitalism as male and that which it feeds off-nature-as female, arguing that 'women's labour is considered a natural resource, freely available like air and water'.[9]

In her essay Love and Gold, feminist theorist Arlie Hochschild conceptualises love as a resource that the first world currently 'mines' from third world women. Elsewhere she details that while first world women have moved into the paid labour force, first world men have been notoriously reluctant to take on the unwaged work previously performed by housewives.[10] To fill in the gaps, first world capitalism has turned to third world, migrant labour forces. 'It is as if the wealthy parts of the world are running short on precious emotional and sexual resources and have had to turn to poorer regions for fresh supplies'.[11] Her description of the flow of care workers from third world countries to first world countries reveals how widespread assumptions about women's capacity for love are. She says, 'we can speak about love as an unfairly distributed resource-extracted from one place and enjoyed somewhere else'. She calls this situation, poetically, a 'global heart transplant'.[12]

When women performed this labour as part of their married duties, it was justified as an act of love. Caring first for her husband and children, then later for the elderly within extended family groups, the work that women have traditionally performed is bound up with assumptions about their biological predisposition to loving. As Silvia Federici phrased in her 1975 manifesto Wages Against Housework, 'They say it is love. We say it is unwaged work'.[13] Having been culturally constructed as an act of love and nurture inherent to the female gender, housework (and similarly care work) has not been considered 'real' work. The logic behind this is that love is its own reward-the fulfilment of a 'natural' drive, which is inherently pleasurable and therefore does not require monetary compensation.

That terrain is shifting away from the closed unit of the family and ever more into the market. However, this work is radically undervalued against other kinds of wage work. I do not want to conflate the forms of exploitation enacted against third world and first world women - their circumstances are not equivalent-but rather, draw attention to the fact that the mistreatment of third world women is motivated by the same set of beliefs that are still operational, though in covert forms, in the lives of first world women. Women as a whole are subject to these beliefs in the capitalist system.

We justify paying domestic labourers so little because care work is a female dominated industry, and we still think of women as biologically predisposed to love. As Hochschild says, first world employers believe immigrant women 'to be especially gifted as caregivers: they are thought to embody the traditional feminine qualities of nurturance, docility, and eagerness to please'.[14] The capacity for love, it seems, is cheap.

Capitalism's tacit positioning of women's work as a natural resource implies that those who perform the labour associated with femininity are fundamentally passive-vessels from whom energy is extracted rather than agents involved in a complex cultural process. The love that capitalism feeds upon is undervalued because it is seen as naturally occurring and therefore not labour. This ignores the ways in which women are trained (often by their own mothers) to volunteer labour of this kind and to meet the expectations that arise out of cultural constructions of femininity.

Much has been written on this capitalist sleight of hand and its consequences for women. However, it is only by looking beyond the care industries, which can be linked to biological understandings of women, that we can understand capitalism's broader exploitation of the gender divide. Where the logic behind care work hinges on a set of beliefs about women's biological tendencies and capacities, the disparity in the cultural sector is not so obvious. Yet this imbalance is, I believe, driven by the same logic as that of care work.

* Image of white cube via Tokyo Wonder Site

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Women's invisible labor and the art world

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Macushla Robinson writes about feminized labor, notably emotional labor and care work, and how these have been traditionally unpaid and thus sidelined and unimportant. This unpaid labor, generally performed by women, extends even to the art world, she writes. Read Robinson in partial below, in full via Runway.

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In 1989, when asked to produce a billboard for Public Art Fund, the activist feminist art collective Guerrilla Girls produced their now-famous poster asking, "Do women have to be naked to get into the Met Museum?" At the time, this question pointed to the disparity between the number of works by women artists in the Met's collection and the number that portrayed (and objectified) women's nude bodies.

The problem of women's representation in historical institutions persists, as evidenced by the Guerrilla Girls' continued return to this question, updating it every so often with still-troubling statics. Conceptual photographer Sara VanDerBeek's new series of large-scale dye sublimation prints, Women & Museums, also interrogates how women occupy institutional spaces, particularly through the prominence of traditionally craft media like ceramics and textiles - materials that rarely receive as much attention as other parts of museum collections more dominated by male artists. The works are characteristic of VanDerBeek's practice, in which she probes the prevalence of the image/screen by creating sculptural photographs. Her previous projects have explored photography's role in documenting and presenting sculpture; they consider the fact that for many people, including art historians, photography is the first, and sometimes only way we encounter sculpture, whether it be in a textbook or on a website.

VanDerBeek's Women & Museums prints flatten the image field and the objects presented, layering photos of ancient busts against ceramic bowls and vases against textile works. This collaging certainly references our digital tendency to have multiple windows open, always looking at several things at once. But it also creates a specific sense of space and time - placing objects together from different contexts, compressing them to create a link between moments. In an interview with curator Roxana Marcoci for her 2016 Hatje Cantz catalogue, VanDerBeek cites her interest in simultaneity, the "layering of multiple images in a single frame." "I was thinking about the simultaneity of contemporary culture as advanced by Sonia Delaunay-Terk," she explains, "this accumulation of experiences results in a dynamic whole that at times is formed like a film - a sequence of specific moments that are layered over and amongst one another."

"Women & Museums II" (all works 2019) is especially filmic in this way. The color palette is her characteristic CMYK; soft pinks, purples, and blues tint each photograph of the objects (this palette is consistent across all six works in the show). A pink rectangular image of a round ceramic vase is in the top left, photographed in the style of a studio portrait against a plain backdrop with a dark drop shadow. This is superimposed over an expansive dark purple space above what resembles the chest of a supine woman, but is more likely folded fabric, or the edge of a statue. Dramatic lighting and color contrast, coupled with the unfamiliar object in the lower half of the image, create an eerie quality and a heightened sense of duration between the two images.

"Women & Museums V" involves a similar method of abstraction: a photograph of a patterned vase is layered atop one of a marble surface. According to the press release, the background image shows a detail of a Japanese Meisen kimono and the vase is from the late 1960s by New Mexico-based artist Lucy M. Lewis, a mother of nine whose practice recreated ancient patterns on ceramics. The abstraction created by the layered images dislocates each object from its place in history, while simultaneously giving them an unusual amount of physical space and attention, demanding we view them as artistic objects with aesthetic properties beyond their use-value or craft status. Even without the knowledge that one of the works was created by a mother, textiles, ceramics, and other domestic arts are often made by women at home whose additional jobs include taking care of children and elders, labor that is not highly valued in our culture, and many others.

The series is displayed in a small room and is comprised of only six works, each nearly eight feet tall. They tower over viewers, with objects enlarged far beyond actual size. This magnification also heightens the viewer's aesthetic experience of both the works photographed and VanDerBeek's compositions, and brings the scale closer to that of the body, recalling the physicality of sculpture. Up close, the images are slightly grainy, giving them a tactile quality in addition to the glossiness bestowed by the artificial coloring. But the objects retain something of their status as historical markers and archeological relics. "Women & Museums VI" shows the head of an ancient statue of a woman rotated sideways, eyes and lips tinted with traces of paint. In this work, the photograph of the head overlays and partially covers the same image, like a looped film strip; the figure gazes upward into the distance. The paint remnants are a reminder of the statue's age and wear.

With the guidance of the series title, we see anew the work of women that is so often overlooked - in museum collections and in our homes. In light of recent controversies surrounding the ethics of funding and curatorial responsibility, VanDerBeek's conceptual images have added weight. Her thoughtful juxtapositions and re-contextualizing asks, What responsibility do museums have to display their collections in ways that eliminate gender inequality and to offer displays with more information about the artists and objects? As the Guerilla Girls' posters proclaim, there is a responsibility to collect across gender (and race) lines. But what is the responsibility of the artist to push back against the stories museums tell? VanDerBeek takes this challenge head on, reframing museum collections to illuminate women's unseen labor, both artistic and otherwise.

Sara VanDerBeek: Women & Museums continues at Metro Pictures (519 West 24th Street, Chelsea, Manhattan) through October 19.

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In 1989, when asked to produce a billboard for Public Art Fund, the activist feminist art collective Guerrilla Girls produced their now-famous poster asking, "Do women have to be naked to get into the Met Museum?"

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Feminist Fibre Art Tracing the History of Feminine Subversion

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Academia.edu is a platform for academics to share research papers.

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Acrylic Vs Wool – What’s The Difference? - The Creative Folk

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If you’re new to crocheting and knitting, read this to better understand two popular yarn options, acrylic and wool, and how to use them.

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compositions featuring sinuous, alternating lines in black and white spaced closely together, creating patterns that move and vibrate.

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Bright, multi-paneled, monochromatic canvases that were stylistically and temperamentally the opposite of painterly slashers like Pollock and Willem De Kooning.

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The idea of painting quite abstract symmetrical works on varying sizes of canvas' to accompany the pompom works as they would contrast each other in terms of style and possibly colour.

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Smith has gone on to inspire me to think about tying materials together, such as my pom poms being tied together in varying ways with varying sizes.

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Tying is very physical and the gesture is a remnant of my body for better or worse. I’ve used my body to make marks in this show. My body is present and you can’t get away from that.

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Tying is very physical and the gesture is a remnant of my body for better or worse. I’ve used my body to make marks in this show. My body is present and you can’t get away from that.

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When Smith was younger she had more of an attachment to her works and often thought of them as her babies, this is the first time ive seen an artist talk about this as i know i myself think of my artworks this way. It strikes a conversation around then becoming slightly detached, Smith describes this in a way where she thinks   that work loses energy when you hide it away. It becomes art or it becomes full from the experience of others looking at it and having an exchange.
Smith stores most of her artworks away but she keeps a handful of pieces to herself as sentimental value.

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Binding materials together is both violent and loving. In her work she express' different aspects of being and emotions that they strive for balance in striving for harmony or joy through a struggle. It all acts as a metaphor for life and the human condition.
Smith says working this way has helped her balance and find joy through this was of creating.

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black, blue, green, yellow, orange, red, pink, 2016

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New York based artist who works with installation art and paintings that include found textiles and collage materials.

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New York based artist who works with installation art and paintings that include found textiles and collage materials.

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Smith combines her personal history and belongings to bring attention to the amount of 'things' we consume and discard and how these 'things' resonate with us on an intimate and social levels.
Smith has built a large material vocabulary and in a skillful way she interweaves brushstrokes, personal narratives, and symbolism for the viewer to pick apart.
She aims to bring together consumption, displacement and spiritual sanctuary, revealing connections across space, time, and place to suggest the possibility of constructing worlds renewed by hopeful delight

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i am a big admirer of this piece by Katie Holten as it is similar to the layout i envisioned for my pom pom sculpture/installation in the way in envelopes and takes over the space it is displayed in. there is an excitement in the fact the piece is ever changing and developing as it could possibly never be displayed in the exact same way each time it is presented.

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Holten is an Irish artist who got her degree at NCAD and now resides in NYC.

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Holten is an Irish artist who got her degree at NCAD and now resides in NYC.

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Holten creates immersive installations that work on connecting people and to investigate the human impact on the natural environment. A vast majority of her works are created from recycled materials. She creates renderings of maps, plants and ecological phenomena that provoke a dialogue on issues from biodiversity to global warming.

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"In many plants, the angle between leaves is around 137.5 degrees, corresponding not only to the “golden ratio” but also to the ratio between two successive terms of the Fibonacci series"
This piece consists of crocheted pieces which each segment made on one trip the artist took, the size of each piece corresponding with the duration of that particular trip. The pieces are all woven together into a complex form of unfolding organic lines to represent the artists tangible carbon footprint over her travels.
The piece is created from traditional Irish lace crochet, the artist used the single stitch, as a non-expert, to “draw” lines that represent her movements in time and space. Each time the piece is installed the drawing is different, but the trace of the journeys remains the same.

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Rhona Byrne creates these site specific installations or context based installations that explore and focus on interplay between humans and their surrounding environment.
i have researched the way Rhona creates this immersive installations that aim to connect people in unique ways, this is something i want to achieve in my current works, i aim to connect people and form an alliance with the work and it's viewers to raise awareness to the topic it's tackling. I aim to create an intangible attraction and understanding to the installation.

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This is a site specific installation that was commissioned by facebook as part of their AIR program.(An artist in residency program at facebook supported by Interface)
This installation resides on the 5th floor of the facebook Q in Dublin, it has three different sized zones taken from studies of comfortable personal distance studies.
There is a social zone that is a large orange and yellow circle with carpeted seating, then a personal zone that is a blue hooded circle with seating for two. The last is a intimate zone under a large hood overlooking a fantastic view of the city.
The carpet covering the whole floor resembles Tv static and is described as 'white noise' focusing on the in-between signalling and behaviors of interaction.

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Irish artist based in Dublin, graduated from NCAD. Byrne works on creating responsive projects through sculpture, drawing and spatial environments that explore the complex multi-dimensionality of physical and social space, embodiment and interaction.  

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Irish artist based in Dublin, graduated from NCAD. Byrne works on creating responsive projects through sculpture, drawing and spatial environments that explore the complex multi-dimensionality of physical and social space, embodiment and interaction.  

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At first i was apprehensive to explore this installation but after circling the room i eventually sat down and became immersed in the books i sifted through being curious at all the their published dates as the oldest i found was from 1992 and the most recent being 2021. The overall experience was very calming and comforting and i found myself not wanting to part the experience to explore the next room.

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A research based installation that focuses on landscape, farming, food production and the sustainable use of natural resources.
The space is dimly lit and in the center of the room are three stainless steel cattle feeders that are filled to the brim with books with incubator lamps overhead as lights. There is seating along the feeders to encourage the viewer to sit down and explore through the sea of books as a speakers pushes the flow of rural countryside sounds through the room.

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Works based on Homer's Odyssey. Twenty paintings and eleven drawings that relate to the characters and the places of homer's story, The works are abstract and compositionally and tonally evoke the atmosphere of the story.
This exhibition showcases the strength of abstraction.

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This exhibition consists of numerous types of media such as photography, kinetic objects and sculptural elements. These pieces are created to evoke a glimpse into the mythology of the Hyperborea (a term from classical times that referred to legendary people from beyond the most northern point of Europe that lived in a paradise sheltered from wind and ice.)
De Fouw describes the body of work as playing the idea of truth and representation and as a constant push and pull between the mythic and the actual.

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Drumgold holly embryo transfer, (Sculpture inspiration)

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Drumgold holly embryo transfer, (Sculpture inspiration)

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I feel in terms of display and wearable sculptures this sculpture feels very similar to the sculpture I'm currently working on that could be displayed in the end as a wearable sculpture. The vibrancy ad volume of this piece with the contrasting spikes add an element of movement and fun to the piece even if it's displayed through a photograph or on aramp.

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These sculptures were made to be worn to highlight the connection that food is fuel for the body and the methods used by the farms have a connection to the corporeal. Allusion to the spiritual and the scientific is present in the specific materials chosen by McKinney and through the totemic display of the sculptures.

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A series of wearable sculptures that were inspired by agrarian practices and pastoral traditions of six farms that are in the process of opening in wexford. McKinney visited these farms an listened to how certain practices, histories and stories have led to particular modes of food production in these townlands.
McKinney creates an aesthetic response in the materials and styles she uses that are motivated by her passion to the subject matter.
There is a element of suggestive craft making through the use methods of weaving, carving, polishing, printing and building, these techniques developed from ethnographic research and they reflect on the multi-faceted skills needed on a farm.

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An immersive multi-sensorial mindscape that creates a powerful experience.
Dunne has a fascination with the digital and material culture, idiosyncratic touch is filled with references to the surreal and hyper-real.
Dunne explores ethos rooted in post-pop and post-internet, her work envelopes it's audiences in it's abstract, detailed virtual and physical realms. The multi-dimensional approach she has taking to crafting large scale, experiential work is informed by a diverse creative background that she has explored throughout her life.
Dreampshere is an exciting site-specific work in the courtyard of IMMA.

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First iteration of the pompoms being in an installation setting.

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First iteration of the pompoms being in an installation setting.

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A soft empowerment installation that consists of 56 handmade wool pompoms.
This piece reflects on how women often SHRINK themselves in social and work environments by shrinking their ideas, their physical bodies, their personalities and their own accomplishments,
This piece aims to be loud and proud while embracing its authentic self, it's unapologetic in the way it takes up space spreading from the wall to the floor and forcing the viewer to walk around it or navigate carefully through it.
The pompom is so versatile and has so many possibilities in how they will work in their final iteration.

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We SHRINK ourselves by shrinking our ideas, our physical bodies, our accomplishments and our personalities 

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We SHRINK ourselves by shrinking our ideas, our physical bodies, our accomplishments and our personalities 

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3 ways women SHRINK at work

As a woman in leadership, I notice one common practice in business work cultures that must end. Women makeup 50 percent of the workforce and yet they represent a small portion of the leadership in most organizations. In fact, the large male majority in positions of management is evidence that there is a false bias that male leadership is just better. Type the search term in google, "define leadership qualities" and male traits of dominance and authority come up in the search results. Even in our daily interactions at work, men are viewed as having...

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3 ways women SHRINK at work As a woman in leadership, I notice one common practice in business work cultures that must end. Women makeup 50 percent of the workforce and yet they represent a small portion of the leadership in most organizations.

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Jamia Wilson has spoken alongside feminist greats like Gloria Steinem and Jane Fonda. She's the executive director of Women, Action, and the Media (an organization that advances gender justice in the media) and the former vice president of programs at The Women's Media Center. She's a writer and feminist activist based in NYC - her words and works are in the New York Times, CNN, Refinery 29, Elle, TED.com and Rookie. She's a millennial, a southern born global nomad who grew up as an expat in Saudi Arabia. And she's passionate about yoga, natural food and gluten free cooking. That's how I introduced Wilson in this week's Mentoring Moments podcast.

This is Wilson's Mentoring Moment (a story she didn't share in the podcast), including three big lessons she learned after a man told her to shrink herself:

I changed my college major because of my hair. Seriously.

I was 18 years old, at American University, with my long kinky braids, majoring in broadcast journalism, my passion. I could see my future self: an award-winning global journalist and fearless front-line correspondent like my childhood idol Christiane Amanpour. Then something happened that I never saw coming. My teacher, an older white male, looked me in the eyes and said, "I'd hate to see you waste your articulateness. You are well-spoken, have a young face and you'll enjoy a long shelf-life in the media field, but you'll have to straighten your hair in order to be taken seriously in media."

Was I a loaf of bread? My shelf-life? Straighten my hair? What? Then it got worse. He got even more condescending when he asked me to name African American women anchors with [natural] hair like mine who were working as broadcasters in major media markets. He told me that I'd be wasting my talent if I didn't conform. At the time, there were no examples that I could name. This was long before Melissa Harris Perry had her show on MSNBC. Dejected, I left with my head held high but my heart broken.

Essentially, I was told that I would need to change my authentic self to be on camera, my voice would not matter unless it was packaged in a body that fit into a very narrow beauty standard. One of the reasons I wanted to be a reporter in the first place was because I watched the news religiously as an expat-kid in Saudi Arabia, and I rarely saw myself reflected in the anchors. I loved media, but I also wanted to be a role model and a mirror for girls of color, like me.

I couldn't do that. I couldn't package myself to be someone I wasn't. I didn't change my hair, but I did something else I shouldn't have done. I changed my major from broadcast journalism to PR. This is embarrassing to admit, but when a friend asked me why I was changing my major, I laughed it off and said, "well, publicists always have jobs during recessions just like undertakers." The zero-sum (and fear driven) pragmatism I'd learned growing up led me to prioritize finding a J-O-B over fighting for my dream.

When I look back at this, there are three big lessons I learned:

Walk Away. I should have ignored that professor because with a comment like that, he wasn't worth listening to. But I was young and it wasn't until years later that it sunk in for me - that feedback like his tells you more about the person giving it than it does about yourself.

Be Me. The media deeply influences our understanding of who we are, what we can be. It also impacts how we perceive and understand others and what they can be as well. A good example of this is the statistical reality that the more TV boys watch, the more sexist they become because of the prevalence of minimizing stereotypes on screen, the sexualization of women and girls and the glorification of violence against women.

In a media landscape where we often see more focus on women's shoes than their views (even when they are running for President!) we still have a long way to go. Not to mention the recent appeals court ruling that ruling that permits employers to ban dreadlocks and to fire employees who refuse to change their hair. I shudder to think about the implications Trump's electoral college win has on this issue if it goes to a Trump-Pence appointed Supreme Court. As a professional woman and a long-term wearer of locks, I'm concerned about the court enabling discrimination in the workplace. Based on Trump's track record with housing discrimination and sexual harassment, we're in for an uphill battle.

Catch Silver Linings. This professor drove me towards the work I am passionate about today as a feminist media activist. I'm a feminist movement builder, storyteller and media justice advocate because I want to help shape a media ecosystem where women, girls, gender non-conforming people and people with disabilities have equal access, participation and ownership.

My friend Danielle Henderson wrote that she wears her hair natural "on purpose." When I think about that time in my life, I often think of her and singer Alicia Keys who boldly launched her no-makeup movement. The real lesson my teacher taught me was to refuse to shrink myself - especially if others need you to do that to feel comfortable with themselves or their worldview.

It can be challenging in a society where women are constantly criticized for being "too much" or "not enough," but we're cheating ourselves and our community when we play small. Now, instead of asking myself what I need to do to be included, I wonder what I can build to pave new ground.

To hear more of Wilson's Mentoring Moments, take a listen to our podcast. We talk about what it means for women to keep their power, dealing with impostor syndrome and why you need to stop saying you're sorry. Jamia shares her life-changing story of when her uncle told her she could not be a feminist and why she's done with taking total responsibility for making relationships work. Julie Zeilinger, editor of MTV Founders and author of A Little F'd Up joins us on "Takeaways" and raises the issue of how women are socialized to take up less space.

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Women Win When We Stop 'Shrinking' (And Cheating) Ourselves

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It can be challenging in a society where women are criticized for being "too much" or "not enough," but we're cheating ourselves and our community when we play small. Now, instead of asking myself what I need to do to be included, I wonder what I can build to pave new ground.

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Kenneth Goldsmith reading with Sonia Shiel

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Kenneth Goldsmith reading with Sonia Shiel

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-Sonia’s pen pal project- (starting a dialogue in order to use writing as a form of artistic expression in a way we haven’t before)
-in an artistic practice while not In the foreground there are life size horse hoof-prints and they lead, diminishing in scale towards the cliff. In being fully enveloped in at artistic medium.
You cannot always produce something new but instead produce your version of it.
The digital language has greatly affected the writing language.

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There are life size horse hoof-prints and they lead, diminishing in scale towards the cliff. In The Cliff a legal waiver document standing-out from its spongy edge, has attention drawn to it by an-ever appearing cookoo. The cookoo’s clock is emphatically over-weighted and causes its time to spin unnaturally fast, while a small horse is suspended in mid jump from the cliff.
Shiel describes the waiver as a linkage between the reality of cartoons and outlandish intentions of art.

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Shiel likes the technique of stuffing and folding her paintings and tends to push herself to deviate from the wall and owning the space of a painting on a  table or the floor to change the dynamic of a gallery and to inspire the visitors to be more interactive with the pieces.
She advises not to be precious with paintings as they will constantly change by adding things and taking away, art work undergoes constant evolution to suit time and space.

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Irish visual artist who in 2020 completed an artist in residence project with Facebook and is a member of rua red’s artists studio residency program.

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Irish visual artist who in 2020 completed an artist in residence project with Facebook and is a member of rua red’s artists studio residency program.

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She works across a range of mediums from paintings, sculptures, installation, moving image and even animation as of recently.

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These pieces are exciting and done in the method of weaving and all created by hand. These pieces are comforting and modern while also holding a warmth and fitting to contemporary fiber art.

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Fibre artist and designer currently based in Canada. Rousseau works in creating artworks for peoples homes all over the world. She creates pieces to suit particular spaces and aesthetics.

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Fibre artist and designer currently based in Canada. Rousseau works in creating artworks for peoples homes all over the world. She creates pieces to suit particular spaces and aesthetics.

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A shot from shimeks studio space.

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Shimek has been dedicating herself fully to fiber work, she studied tapestry and Navajo weaving, rigid heddle and floor loom weaving. Shimek developed her own signature weaving style as she explored how art can be used to express grief and heal after personal loss.

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Fiber artist living and working California. She is inspired by loss, movement, healing and the acknowledgment of uncomfortable feelings. She uses organic movements to intertwine raw fibers to create abstract and textural wall hangings and sculptural objects.

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Fiber artist living and working California. She is inspired by loss, movement, healing and the acknowledgment of uncomfortable feelings. She uses organic movements to intertwine raw fibers to create abstract and textural wall hangings and sculptural objects.

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Écoutons was a group performance with the act of going up the Mountain of San Peyre, in the region of the Alps Maritimes in the South of France, and listening together as a collective experience. In silence, the group embroidered and listened to nature.
The restrictions that the pandemic inflicted worldwide changed these plans, and this activity wasn't possible anymore. So Ana Maria sent out an invitations for a different experience, one that still focused on  the element of active listening and collectiveness.
People embroidered at home while enjoying nature and recorded the sounds they heard, Ana took these recordings and created her own embroidered artworks to the sounds she was sent.

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In Hernando's installations she includes handmade works from other women to bring attention to their unacknowledged acts and sacrifices. Such works consist of embroidered petals made by cloistered Carmelite nuns and clouds of tulle. Soft everyday materials are used in order reclaim the idea of what power can look like, to show that it is present in the explosion of the feminine, unstoppable, unconstrained and unapologetic.

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Hernando was inspired by her female family members who came together to sew, crochet and embroider as she was growing up. She recalls the vibrancy of the various things that could be made from fabrics and threads that she believed to be expressions of their spirit.
Through her work she explores the unacknowledged feminine work as a prayer that she became familiar with her throughout her life.

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Argentinian visual artist. Works in feminine fibre installations with the intention of celebrating the lives and communities of latino women.

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Argentinian visual artist. Works in feminine fibre installations with the intention of celebrating the lives and communities of latino women.

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Mukherjee was influenced by traditional indian and historic european sculpture, folk art, modern design and textiles but knotting was her main technique and her method was to work intuitively and never from pre planned sketches.
Mukherjee was defined as a unique talent in contemporary art and her work is described as sensuous, with tactile quality which exercises a compelling hold on the viewer

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Mukherjee went to study Bachelor of Fine Arts (Painting) at Maharaja Sayajirao University of Baroda. Her studies included working Italian Fresco and other conventional techniques. She worked with natural fibres as a medium for mural.
Mukherjee's first solo exhibition was at Sridharani Art Gallery in New Delhi in 1972. It featured warped, woven forms in dyed natural fibre, this series of works brought her recognition. She named her sculptures after deities of fertility and were seen as sensual and suggestive
She received a British Council Scholarship for Sculpture in 1971 that sent her to the West Surrey College of Art and Design, where she pursued her tied-fiber works till 1978.

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Mukherjee is an Indian sculptor, she is known for her contemporary style and her use of dyed and woven hemp fibres. Her career spanned over four decades and she passed while still actively working in her unique craft.

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Mukherjee is an Indian sculptor, she is known for her contemporary style and her use of dyed and woven hemp fibres. Her career spanned over four decades and she passed while still actively working in her unique craft.

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Anni Albers is one of my main inspirations this semester due to her being a female student at the male dominant Bauhaus and was discouraged from taking classes bar weaving, as this was the only 'womanely' class available. Due to this she embraced weaving and used textiles as her main medium and as a from of expression

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Anni Albers is one of my main inspirations this semester due to her being a female student at the male dominant Bauhaus and was discouraged from taking classes bar weaving, as this was the only 'womanely' class available. Due to this she embraced weaving and used textiles as her main medium and as a from of expression

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Albers was invited to experiment with print media. She grew immediately fond of the technique, and  gave up most of her time to lithography and screen printing. She was invited back as a fellow to Tamarind in 1964. Here she created the six print portfolio titled, Line Involvement.
Albers had two major exhibitions in Germany, and a handful of exhibitions of her design work, over the next two decades, receiving a half-dozen honorary doctorates and lifetime achievement awards during this time as well, including the second American Craft Council Gold Medal for "uncompromising excellence" in 1981

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Albers became the first textile designer to have a solo exhibition at the Museum of Modern Art in New York City. Albers's design exhibition at MoMA began in the fall and then toured the US from 1951 until 1953, establishing her as one of the most important designers of the day.
Albers spent the 1950s working on mass-producible fabric patterns, creating the majority of her "pictorial" weavings, and publishing articles and a collection of her writings, On Designing

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Albers was a student under Paul Klee and in 1930 Albers receives her Bauhaus diploma for innovative work: her use of a new material, cellophane, to design a sound-absorbing and light-reflecting wallcovering.
Albers was head of the weaving, she was one of very few women to hold a senior role such as this at the Bauhaus.
After the Alebrs move to America, Annie became an assistant professor of art in school that was focused on "learning by doing" or "hands on learning." In the early 1940s when Albers had her students go outside and find their own weaving materials. This was a basic exercise on material and structure. Albers regularly experimented with different material in her work and this allowed the students to imagine what it might have been like for the ancient weavers.

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An American textile artist and printmaker who is credited for bringing together traditional art and craft.

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An American textile artist and printmaker who is credited for bringing together traditional art and craft.

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Wool and Styrofoam sculpture. Buddy Balls was experimental for Zeisler as she departed from her usual thing of undyed wool or red wool. This piece lacks the technical skill of weaving as these nonwoven bundles of wool encourage the viewer to think about the importance of colour and volume.

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Zeisler's work became extremely experimental in as her use of the loom pushed boundaries pushed traditional textile techniques as she created 3D fiber sculptures that were freestanding, achieved using a variety of techniques.
Her first solo exhibition took place the same year as Lenore Tawneys breakthrough solo show.

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Zeisler studied at the Chicago Institute of Design in the 1940s with Eugene Dana and the Illinois Institute of Technology where she was taught by the Russian avant-garde sculptor Alexander Archipenko and the Chicago weaver Bea Swartchild.
In 1946 she went on to study at Summer Art Institute at Black Mountain College where she studied colour and design under Joseph Albers.

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Zeisler's non-functional structures were crafted using traditional methods of weaving and avant-garde off the loom techniques such as square knotting, wrapping, and stitching. Zeisler preferred to work with natural materials such as jute, sisal, raffia, hemp, wool, and leather.
She usually left textiles un dyed due to a preference of natural colouration as she believed it emphasized the fiber itself.

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American fiber artist who works in experimenting with the qualities of knotted and braided threads, she pioneered large scale freestanding sculptures through fiber art.

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American fiber artist who works in experimenting with the qualities of knotted and braided threads, she pioneered large scale freestanding sculptures through fiber art.

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1970's the move to creating interactive spaces in the medium of fibre art.

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1970's the move to creating interactive spaces in the medium of fibre art.

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MacAdam gave birth to her son during this period and moved to Canada to be in her husbands homeland.
1979 MacAdam collaborated with Fumiaki Takano to create a large scale playscape for children in a new national park is Okinawa.
The research MacAdam undertook on public leisure spaces, mainly focused on Japan, influenced her perspective on the role of playgrounds and parks in the development of children. Her structures are designed for children to have a space to take risks and explore in a safe environment. The spaces are intended to let children use their imagination.

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MacAdam was inspired to create her textile playgrounds after witnessing children playing on and interacting with a 3D textile installation she was exhibiting. After this event she began noticing the lack of parks and play areas for children in Tokyo and thought about the negative affect it had on children.
In 1971 she created her first installation for children which was later donated to a Tokyo Kindergarten.

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A fibre artist during the 1970's, she is known for her works 'Fibre Columns/Romanesque Church' and 'Atmosphere of the Floating Cube' that were highly influential to the fibre art movement. They were created from hundreds of knitted gold and silver lengths, stretched into concave panels and shaped as cubes. With the use of small floodlights the installation was transformed into a haloed radiance.