Curators, scholars, artists, and designers reflect on the labor and experience of motherhood in the new essay collection Inappropriate Bodies.
In Madeline Donahue’s first solo exhibition, Attachments, the relationship between a mother and child threatens to subsume each individual into one being.
Nanfu Wang and Jialing Zhang’s new documentary One Child Nation unpacks the history and brutal effects of a policy that dominated a population.
The poems in Milk combine snarky sense of humor with an edge of semi-bitter self-consciousness.
The Let Down Reflex is essential viewing for anyone engaged with issues of caring economies, so-called “women’s work,” or the question of living wages for the art world’s service workers.
Four years ago, Jamie Diamond was looking for a realistic doll to use in a photographic series and stumbled upon a trove of hyperrealistic dolls known as Reborn babies.
Fifteen years ago, photographer Julie Blackmon was exploring the basement of her Springfield, Missouri, home when she discovered an old dark room.
CHICAGO — There is a set of culturally acceptable ways for mothers to be and behave in the world. Mothers aren’t allowed to have their own lives or be sexual; in essence, they’re not allowed to be human beings. When an artist who’s also a mother crosses these lines, people often react in ways that are predictable yet simultaneously a grim reflection on where we still stand culturally in regards to women and feminism.
CHICAGO — What does it mean, bodily, physically, emotionally, mentally, and perhaps spiritually, to be what Simone de Beauvoir deemed “the second sex,” to be a woman and, moreover, to be a mother? These are questions that Chelsea Knight explores in her latest video work “The Breath We Took” (2013), now on view at Aspect Ratio.