Tuesday, January 02, 2018

Kickstarter campaign for #bullyculture

I have been consumed with the creation of a very difficult, and scarily prescient, body of work for 5 years now. It is work that many have told me that they wish they could show, but, for various reasons, could not. I have had 4 galleries close in the past decade, and have operated independently for several years now, making work that is not exactly "perfect-over-the-couch-I'll-take-two" material. I am nearing the final stretch of preparing this work for my solo exhibition at York College, and I have prepared a Kickstarter campaign to help me with presentation and details for the final push. If you appreciate artists who "unflinchingly speak truth to power", please consider a donation of time, money, or even a "share", to get this work out into the world. Thanks!
You can check it out HERE.

Friday, November 03, 2017

Lecture & Exhibition at Hobart and William Smith Colleges

I will be opening a solo exhibition, "Thread Bare" at The Davis Gallery at Hobart and William Smith Colleges in Geneva, NY. I will be exhibiting primary fiber pieces, hair embroideries, psychological clothing, and embroidered work on motherhood. In addition to the gallery talk, I will also be giving a more comprehensive artist lecture, entitled "Without Skin", on Thursday, November 16th at 4:45 - 6 pm in Houghton House 112.

November 17 through December 15, 2017
Reception: Friday, November 17 | 6 - 8 p.m.
Gallery talk at 6:30 p.m.
(Gallery closed November 22-26)
Thread Bare is an exhibition of selected works by artist Kate Kretz. Through her use of traditionally feminized mediums, such as embroidery and sewing, Kretz engages with the theme of female identity formation as both lived experience and ideological construct. Addressing the subjects of maternity and aging in particular, Thread Bare sheds light on the aspects of female experience often deemed too "messy" or "ugly" for public consumption.

Sunday, July 30, 2017

More new work from the Lie Hole Series

All 10 x 8", colored pencil on Rives BFK paper (working drawings)

Sunday, June 25, 2017

First Work in New Series

"Lie Hole", 2017, 10 x 8", colored pencil on black Rives BFK paper

Friday, March 31, 2017

College Art Association's Committee on Women in The Arts choses "#bullyculture" as a Best Picks for April!

Each month, CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship, naming exhibitions and events that "should not be missed". My solo exhibition, "#bullyculture" was included in their April 2017 Best Picks. The exhibition runs through April 15th, with a talk on Saturday, April 1st, at 2 p.m.

Sunday, March 12, 2017

"#bullyculture" opening


"This series was born of the terrible things in my news feed that keep me awake at night. I felt certain that there was a common denominator to all of these crimes: against children, women, “minorities”, the poor, animals, and the earth. Five years of research into these seemingly disparate transgressions has resulted in a deep investigation of entitlement and the need to dominate. "#bullyculture" represents the first phase of this ongoing investigation, one that has become chillingly prescient.
Bullying permeates our culture and our institutions. Our country threatens any who would oppose U.S. interests. Our children grow up indoctrinated into capitalism, with fewer and fewer restraints on corporations who control workers and consumers, while destroying the planet we need to sustain us. Parents across the country pay lip service to fighting playground bullies while simultaneously tuned into the uber aggressive “Housewives of…..” reality TV show, or the football game, where huge swaths of players are forgiven rapes, and violence against animals, or their own wives and children. We teach our kids to dominate/intimidate/annihilate on the soccer field, preparing them for lives in the corporate sphere. In parts of this dystopia, open carry advocates don weapons in public, excited by the power of wielding the latent potential to mow down dozens of people in under a minute. Unsurprisingly, four months ago, this country elected the ultimate bully as leader of the free world.
The collective despair that has enveloped our country, and, I daresay, the world, is not just the result of one political party defeating another. It is that the oldest, most deeply ingrained childhood narrative, the one that allows all of us to sleep peacefully at night, the one that gives us the optimism to have babies, and to tell those babies (as well as ourselves) that “everything will be alright” has been utterly destroyed: The Bully has won.
I am interested in looking at the overlaps of entitlement and domination in our society, and in calling out the aggressors, the intimidators, and the often overlooked larger, systemic forces that encourage and reinforce this poison in our culture."


Wednesday, March 08, 2017

Solo Exhibition of New Work, "#bullyculture", Opens Saturday

Note: limited hours. Walk-throughs are available.

Difficult Truths Solo Exhibition

Saturday, February 18, 2017

Solo Show & Group Show just opened, and another Solo Show opening soon!

My solo show, "Difficult Truths", curated by Amy Jorgensen, just opened at The Granary Art Center, in Ephraim, UT, and will be up through May 12. "BC/AC: Before Child/After Child", curated by Katherine Knight, is up at Montgomery College in Takoma Park, MD, through March 10. Stay tuned for a solo show of new work, "#bullyculture", opening in early March at the Gateway Arts Center.

Installation shots of my work from "BC / AC: Before / After Child"

Friday, January 13, 2017

"Under The Gun" opening & Radio Interview This Weekend

Group show "Under The Gun" opens tonight at Work/Release in Norfolk, VA, and I will be interviewed on Takoma Radio Sunday at noon!

Thursday, November 24, 2016


(I was asked to respond to the election for a newspaper, but not enough artists responded, and they cut the piece, so...)

- The escalating savagery of reality TV (and our children, always watching).
- Those bankers who never went to jail.
- The monumental weight of words, carelessly tossed out for applause.
- The ones who took the path of least resistance, towing the Party Line.
- The hard work of digging for The Truth.
- Those who couldn’t let go of the quixotic politician they had dreamt of all their lives.
- The women and girls, focused only on the thought that they would finally get their chance.
- That innate wiring for survival that causes us to trust faces we see every week, even through a glass screen.
- The ones bored by real news.
- The delusion that we live in a Democracy.
- The young, cosseted ones, who didn’t realize how bad this could get.
- The journalists, who, when staring at the ceiling late at night, knew what part they were playing.
- Mistaking magical thinking for optimism.
- The ones who could have stopped it by speaking up.
- The slow asphyxiation of critical thought.
- The old people, paralyzed, because the world is changing too quickly.
- Both sides, covering their ears, chanting, “I c-a-a-a-n’t he-e-ear you!”
- The ones who fanned the flames.
- Those who played it safe, because “revolution” is a scary word.
- Their side, reproducing faster.
- The sad audience in front of their big screens, studying “Lives of The Rich and Famous”, hoping some of it will rub off.
- The seething, interminable misogyny, whether conscious or buried deep.
- The close race that keeps those advertising dollars coming in.
- The soulless, gutting, corporatization of everything.
- The millions who know Kim Kardashian, but don’t know Joe Biden.
- “Divide and conquer”.... it never fails.
- The ones who “aren’t bigoted”, but threw the vulnerable under the bus.
- The white men calling out, “we hurt, too,” (and those who’ve been oppressed for centuries, laughing)
- Normalizing vulgarity, lies and ignorance.
- Greedy, blood sucking CEOs.
- The drowning poor, screaming to the stone-deaf vacationers sunning themselves on the shore.
- The ones who were sure someone else would save them from Evil.
- A gratifying knife in the yuppie heart of your comfortable sibling, who has never known the humiliating, biweekly walk into a payday lender.
- Those who felt bullied, rallying around the BIGGEST bully for protection.
- The babies who drank the poisoned water in Flint, and the suits who didn’t respond, because their own children were fine.
- Fear of the unfamiliar… festering into blind, searing hatred.
- The fresh face of a brilliant, idealistic Wellesley woman, who (rejected for her non-conformity) stunted her spirit to fit the prescribed mold of politician’s wife, spent 40 years learning how to play the game, then (ironically, tragically) found herself criticized for being a perfectly polished politician.
- The deluded, desperate sheep who chose a wolf as their saviour.
- The money, always the money.

And, 60 years ago, a ruthless, menacing, tyrant who taught his children that their only worth was in winning… at all costs. His troubled son, forever frozen at 13, the only one sent away… from the mansion and the nannies, to learn some discipline. Now, HE stands at the podium, screaming for law and order. An insomniac, interminably driven… to feed his entitled, insatiable appetites, to maintain the illusion of vulgar, gold-plated success, to fill the ravenous void with endless acquisitions of planes, boats, towers, wives, and other prizes… to prove to his dead father that he is the winningest winner of all. He’s raised bullying to an art form, his predatory skills sharpened to leave nothing but the bones every time, bellowing the family secret to his children: “If somebody fucks you, fuck them ten times harder.”

(Beware of what you do your sons)

(because they still run the world)

(… and bullies always make more bullies.)

Now, I must teach my daughter about these kinds of men, and the worlds they create. I'm forced to swallow my hope that, after millennia of wars, oppression, and destruction of the earth under male rule, we might see what kind of world a woman could make. I must show my daughter how to live off the land so she can survive after the collapse. I must live longer to protect her. (I got her a passport, just in case.) We will still get the puppy: I envisioned the tragedy of her being pulled off a wailing dog, leaving him behind as we fled the country, then decided that we all need as much joy as we can get. I tell my child that all people deserve our kindness and respect. I tell her she should not be afraid of difference, because we are all in this together, and we are stronger against our real oppressors when we stand with others. I explain that she will have to be brave, to speak up for those who do not have a voice, because those who are silent in the face of oppression are oppressors themselves. I cry at night, when she cannot see me, for all the sons and daughters that will suffer under this torrent of hate, unleashed by a Devil who opened the floodgates. I wake from paralyzing dreams of tigers devouring my sweet girl, but spend the day filling her heart with so much light that she will have some left over, to illuminate the world.

Wednesday, November 02, 2016

New pyrography (wood burning) pieces, #2, 3, and 4 that will be part of a larger 7-9 panel work that will completed soon.


The 2016 SECAC Award for Outstanding Artistic Achievement was awarded to Kate Kretz, an artist / professor working in MD. This award recognizes, encourages, and rewards individuals who have been particularly successful in their creative work as demonstrated through regional, national, or international exhibitions or presentations.

The Awards Committee comments stated that Kate’s work, “… tackles challenging issues that address identity, gender, politics, and popular culture,” and that the work was, “Broad-ranging, deeply invested, highly skilled … aesthetically and theoretically powerful.” It was noted that Kretz works in multiple mediums from painting to fiber arts and that she has an extensive national exhibition record with coast-to-coast venues, as well as international museum exhibitions.

SECAC is a national non-profit organization devoted to education and research in the visual arts. Founded in 1942, SECAC provides advocacy and support for arts professionals and engenders opportunities for the exchange of scholarship and creative activities through an annual conference and publications. Though founded initially as an organization of artists, scholars, and arts professionals from the southeastern states, SECAC has grown to include individual and institutional members from across the United States and around the world, becoming the second largest national organization of its kind.

Saturday, September 24, 2016

My work has just been featured in Hip Mama Zine!

Monday, September 05, 2016

First pyrography piece!  Approximately 3" round. This will be part of a polypdych.

Friday, September 02, 2016

Last Gunlicker painting:  "Gunlicker IV", oil & acrylic on Gatorboard, 20 x 16" oval

Wednesday, July 13, 2016

My work featured at Maximum Middle Age!

Sunday, June 05, 2016

Kate Kretz Career Narrative

 Recently completed for a major grant application:

1963 – 1981
I am the eldest of five, born into a lower-class Catholic family. Mom is mentally ill, still undiagnosed. Dad was a high school French & Latin Teacher father who loved (and lived in) books and films. Before the days of videotape, my father put us to bed at 6 p.m., so he could wake us at 9 to watch classic films on TV. Remarkably, during my ninth year, we rented out our house, and lived in a Paris suburb for a year while my father was on sabbatical. I spent 5th grade in a French Public School. We ate lots of cheap sausage and bread, and had no Christmas presents that year, but we all knew how lucky we were, nevertheless.

Harboring a love for both art and literature in high school, I chose to spend my first year after graduation in France: I knew I would be putting myself through school, and wanted take some time to be sure I made the right choice. I left for Europe with $200 in my pocket, worked as an au pair for a prominent French family. I attended the Cours De La Civilization Francaise classes at the Sorbonne and earned a Certificat, and enrolled in a non-credit drawing class at The Ecole Des Beaux Arts. Upon my return to the states a year later, I enrolled at my hometown university, SUNY Binghamton, as a default while I applied to other schools. I found the art schools to be prohibitively expensive, even with financial aid, and simultaneously discovered an incredible mentor (Charles Eldred), and a painter whose work made my jaw drop (Don DeMauro) at Binghamton. I decided to stay and get my BFA there. I put myself through school by working 30 hours a week as an art framer while taking a full course load. I slept only a few hours each night, and lived in the studio when I was not at my job. I graduated from Binghamton with the SUNY Foundation Award for Excellence in the Fine Arts, Harpur College Departmental Honors in Art, and Harpur College Academic Honors in 1987. As an undergraduate senior, I was asked to be a teaching assistant for one of the faculty. I entered my first regional show at The Roberson Museum upon graduation, won Best In Show, and someone came in and slashed the painting from top to bottom, for reasons that are still unknown. 

1990 – 1994
Working as an illustrator and an Art Director for two years after undergraduate school (while pulling all-nighters to paint) made it clear to me that I needed to return to school to get my MFA. I was accepted to the Hoffberger School of Painting at MICA, but, even with financial aid and loans, I could not afford to go. Instead, I chose University of Georgia, in Athens, one of several schools that offered me a teaching assistantship.  At the time, I was painting night landscapes, heavy with mist, and when I came to visit the Athens, GA, campus, I stepped off the bus on a warm Spring night, smelled the magnolias, and I was sold.  Aside from teaching, I spent every waking hour in the painting studio: I knew that university teaching jobs were hard to come by, and that this might be the last time in my life I could focus solely on my work. One of my friends/fellow students spoke to the faculty, concerned that I was working to exhaustion, because I had no life, and rarely left the studio. In my mind, if I was going to choose to be an artist, coming from a family background like mine, I HAD to be successful, and consequently gave it my all. When people remarked on my ambition, I remember telling them it did not feel like a positive trait, as I felt as though I was trying to climb out of a pit by my fingernails. My paintings, which required a time-consuming glazing technique, were getting increasingly obsessive and intricate, and took many months to execute. I spent three years, rather than two, to get my MFA, squeezing all the time I could out of my school experience. While in grad school, I sold two pieces to The Morris Corporation. Jerry Cullum, Senior Editor of Art Papers magazine, saw my work, and started curating it into exhibitions in Georgia. My work was also in several museum surveys of Contemporary Southern painting in 1994 that were glowingly reviewed by The Atlanta Journal-Constitution, The Savannah News Press, and Art Papers magazine. Upon graduation, I received a full 6-week fellowship for a residency at The Hambidge Center in Georgia.

1994 -2005
I was hired for a tenure track position at Florida International University, a Research I university in Florida, in 1995. I had a solo show at the FIU museum in 1996, which was very favorably reviewed in The Miami Herald. As a junior faculty member, I was given the position of BFA Director when a senior faculty member retired. Just before I came up for tenure, I received a letter from Jerry Cullum stating that, when queried, he had recommended me for The Whitney Biennial. I was unanimously awarded tenure, but was never contacted by the Whitney folks. I had been exhibiting primarily in university galleries and non-profits, but never actively sought gallery representation: my paintings took so long to make that I needed them to be available to circulate, so I could build up my exhibition record for tenure. I received many reviews of my work: all positive, and all generated by my own press releases. While living in Florida, I received the $5,000 Florida Visual Arts Fellowship in 1996, a Miami-Dade Cultural Affairs Council Artist Access Grant in 1997, a $15,000 South Florida Cultural Consortium Fellowship in 1998, Millay Colony residency and Hambidge Center Residency in 1999, and a Florida Cultural Affairs Artist Enhancement Grant in 2004. Florida International University awarded me a Provost’s Summer Research Grant in 2000 and 2002, and my department nominated me for a Teaching Incentive Award in 2001. I participated in group exhibitions at the Telfair Museum, The Huntsville Museum, The Georgia Museum of Art, The Morris Museum, The Fort Lauderdale Museum, Georgia State University, Bernice Steinbaum Gallery, Agnes Scott College, and the Museo Medici in Tuscany, resulting in further reviews in the Atlanta Journal-Constitution, The Miami Herald, and Art Papers.
Laurence Pamer, curator at The Fort Lauderdale Museum, gave me a small solo show in 1998, and another substantial solo show when he moved to The Hollywood Art and Culture Center in 2000. I had a solo show at The Fiber Arts Foundation in Amherst that received great reviews in The Boston Globe, The Recorder (Greenfield, MA), and The Valley Advocate (Amherst). I had a solo show at The Frost Art Museum in 2005 that was positively reviewed in The Miami Herald, the New Times Magazine, and was the catalyst for long feature in Surface Design Journal. The Frost Museum acquired one of my works. This same year, UK writer Martyn Forrester also purchased a work.
2005 – 2008
In 2005, my husband was offered a substantial new job in North Carolina. I refused to leave my hard-won position, until we crunched the numbers, and realized that selling our house in Miami and moving to an inexpensive area in rural NC would finally afford me the opportunity to work full-time in my studio (The only reason I could ever be persuaded to give up my job.) In addition, the move put me substantially closer to my father, whose health was declining. I took a one-year leave of absence from FIU, and then resigned in 2006. I started working with my first commercial gallery, Chelsea Galleria in Miami, in 2005. In December of 2006, the gallery showed one of my paintings, entitled, “Blessed Art Thou”, at Art Miami. Due to the press releases I had sent out, the work was picked up by The Associated Press and appeared in every major international newspaper and on most TV news stations around the world before the fair even opened. The painting was not my strongest work, but was in the right place at the right time. I got death threats from Christians who were offended by the painting of Angelina Jolie as The Virgin Mary, and we put an alarm in our house. The painting is still being reproduced in textbooks in several countries. A full list of documented publications is available on my website at http://www.katekretz.com/BATpress.html.  Previously, my work had always been very personal, but this painting marked the first time I made a piece about the outside world. When all the press and controversy happened, I already had a second, similar painting sketched up and ready to start, but, deciding that this was not the kind of publicity I wanted for my work: I rolled up the drawing and put it away. 
2007 marked the year of my first NYC gallery show, and my first NYC museum show. Some of my hair embroidery was in the “Pricked: Extreme Embroidery” exhibition at The Museum of Arts & Design in NYC. One of my images was chosen by the curator to be on all the banners around the city, but the board nixed it at the last minute, finding the image too unsettling. My work was mentioned in many of the exhibition reviews, including The New York Times and Pasajes Diseno, a Madrid-based magazine. At the same time, I had work in a show at 31Grand on the LES, (included in The James Kalm Report) where my piece sold opening night. I was told they were interested in showing more of the work, but the gallery closed soon after.
My Miami gallery showed my work at Art Miami for several years, as well as doing a solo booth of my work at Palm Beach Contemporary Art Fair, before closing in 2009. In 2007, I had a solo show at The Belger Art Center in Kansas City. The exhibition was “Pick of The Week” on the Brooklyn Museum’s Feminist Art Blog, and The Belger Family Foundation acquired a major work for their collection. Reviews and magazine features unrelated to “Blessed Art Thou” from this time include Fiber Arts Magazine, Surface Design Journal, American Craft, n.paradoxa: international feminist art journal, and Trendhunter Magazine. In 2008, I was awarded a $10,000 NC Arts Council Grant.
2008 – 2014
In 2008, when I was 2 weeks pregnant with my first child, my husband was one of 350 employees laid off from his job, and was unemployed during my entire pregnancy. When he got a job in Washington, D.C., we moved there 3 days after I gave birth, settling into a tiny apartment for a year with a newborn, a cat, and an 80 lb dog. My studio for that year was a long folding table in our bedroom. I continued making tiny work, when I was not adjuncting at one of two universities. I had the opportunity to show a large paper piece in Berlin at the Kunstraum Kreuzberg/Bethanien in 2011, and I worked on it tacked to the living room wall, covering it with tissue paper every day so that the baby or the dog would not soil it. I experienced 6 years of financial and personal hardship, but I was determined not to disappear from the art world after having a child, and had more exhibitions in these years than ever before, including a 4-person show at The Fort Collins Museum of Contemporary Art, and one at The Katonah Museum that was curated by Barbara Bloemink and reviewed by the NY Times, with a mention of my work. I graduated to a large basement studio in our new home after that first year in D.C., and continued to make embroideries and small gouaches.
In 2012, I started working with a new gallery in Miami, Hardcore Art Contemporary Space. I had a solo show there in 2012, and it was quite successful, both in terms of sales and reviews. It received a full-page review in El Nuevo Herald, a substantial review in The Huffington Post, and was Elisa Turner’s “Critic’s Pick for Summer 2012” at ArtCircuits.com, and Editor’s Pick at Flavorpill.com. Hardcore subsequently took my work to Scope Art Fair, LINK-Artfair Hong Kong, and Berliner Liste Contemporary Art Fair, before closing in 2013. My hair embroidery was also shown Packer-Schopf Gallery in Chicago. My silverpoint drawings on silver objects were shown at Snyderman-Works Gallery in Philadelphia. I was curated into several group shows in D.C., and each one has received a generous Washington Post review. Group shows from this time include the Van Gijn Museum (Dordrecht, Netherlands), Tsinghua University (Beijing), American University Museum, Ohio Craft Museum, Lyons Wier Ortt Gallery, The Wignall Museum, Agnes Scott College, Tinney Contemporary, Frost Art Museum, Society for Contemporary Craft, and the San Jose Museum of Textiles.  Reviews and articles include Women’s Wear Daily, Art Pulse Magazine, JungeWelt, Der Tagesspiegel, and Jungle World, (all Berlin), Revista Exclama Magazine (Columbia), 1626 Magazine (China), Salon.com, Weirdposse.wordpress, Pittsburgh Post Gazette, Pittsburgh Tribune-Review, and Esquire Magazine. My “Vagina Dentate Purse” was included in Michael Kimmel’s 2014 book, “Cultural Encyclopedia of the Penis”.
I was a Trawick Prize Finalist in 2013.
Life took a turn for the better after a tough 6 years. I found a cheap studio to sublet for the summer of 2014, and picked up a paintbrush for the first time since 2008. Having a studio outside of my home for the first time was game changing: I suddenly had frequent studio visits. I was awarded a $6,000 MD State Council for the Arts Grant, and was able to rent a bigger studio for the year. I recently had a solo exhibition at The Arlington Arts Center that was reviewed in The Washington Post, and for the first time in my life, I started saying “no” to a number of opportunities that would take me away from the studio. I have an upcoming group show at The Morris Graves Museum, but have otherwise cleared my schedule to focus exclusively on the creation of my new series. My newest work was recently featured in The Huffington Post’s Inaugural  “Hot Off the Easel” feature, where it was spotted by some gun advocates, resulting in lots of social media traffic, and a subsequent interview on The Coalition Against Gun Violence blog this past week.   

Thursday, May 19, 2016

Opening this Weekend: Go For Baroque at The Racine Museum of Art

I have three recent pieces in the exhibition "Go For Baroque: Opulence and Excess in Contemporary Art", opening this weekend at the Racine Museum Museum of Contemporary Art. Two of them are now in private collections, so it is a rare opportunity to check them out!

Tuesday, April 12, 2016

Visiting Artist at Antioch College

This week, as part of the 3-person show of fiber work, "Threadsbared", I am heading to Yellow Springs, OH, to be a visiting artist at Antioch College. My artist talk will be April 14 at 7pm, and I will be doing a Publicity Hat workshop for artists on Saturday the 16th from 1-5 pm. The intensive 4-hour professional workshop is $40/person and is open to all artists and to the general public.  Fee waived for Antioch College students, faculty and staff with current ID. Support comes from the College and Arts at Antioch. More information here.

Tuesday, March 08, 2016

Opening this week... a three person show at Antioch! My talk will be April 14 at 7pm, and I will be doing a Publicity for Artists workshop on the 16th from 1-5 pm. 

I am so excited to be invited to Antioch, a radical college that has produced Nobel Laureates, Fulbright and Rhodes scholars, and notables in the arts, government, business and education. The words of Loren Pope, former education editor of The New York Times and author of Colleges That Change Lives, speak to Antioch’s unique capability: “Antioch is in a class by itself. There is no college or university in the country that makes a more profound difference in a young person’s life, or that creates more effective adults. None of the Ivies, big or small, can match Antioch’s ability to produce outstanding thinkers and doers.”

Friday, January 15, 2016

Working photos: "Gunlicker III: Militia", 2016, oil & acrylic on gatorboard, 17.5 x 18 oval"

Tuesday, October 06, 2015

New Website

At long last, my website is complete!! Everything in one place, links to reviews and catalogs, all my new work!!      www.katekretz.com

Wednesday, September 16, 2015

I discuss "Gunlickers" in my interview with the Coalition To Stop Gun Violence, here.

An Open Letter To Guns.com

So, last week, one of my new "Gunlicker" paintings was printed in The Huffington Post's inaugural "Hot Off the Easel" blog, a monthly showcase designed to show freshly minted paintings. The image was seen by some folks at guns.com, and spread widely via Facebook, and to some anti-gun, but, primarily, gun advocate sites. Hateful and threatening comments across many social media platforms ensued. It was not hard to see firsthand that there is, indeed, a correlation between anger issues, and the most extreme of gun owners. I am grateful for artist friends and anti-gun advocates who came to my defense: I was keeping a low profile so as not to engage. I am most grateful for the few gun owners who tried to mitigate: they were not threatened by the images, because they confidently knew that the images were not about them, and saw the paintings as an accurate reflection of our country's obsession with guns and the most extreme members of the pro-gun movement. I received two interview requests: one from the Coalition to Stop Gun Violence, which will be published today, and one from Guns.com. Guns.com, to its credit, seems to run neutral, unbiased news stories, but is clearly paid for by gun advertising. I penned a letter in response to the interview request:

"Dear Daniel@guns.com,

I thank you for your interview request for guns.com, but am not going to do the interview, for the following reason: I have been to your website, and I don't think it would be wise for me to be represented there. I have mostly been silent since the paintings have gone public, and there will soon be an interview published in the Coalition to Stop Gun Violence blog, where I will say my piece. I have been silent because I have received the most heinous, ugly, misogynistic threats in every type of social media from pro-gun advocates, which only reinforce any ideas that I hold about (not gun owners, but) gun extremists. Although I have my stance on these issues, which is probably more centrist than the pro-gun people think and the anti-gun people would prefer, first and foremost, I am artist. I am not making propaganda..... I make my work to process and understand contemporary society and things that make no sense to me. 

The "Gunlickers" series is my response to open carry advocates and those who think there should be NO laws or restrictions on gun ownership, in a country that has shameful, ridiculous statistics on gun deaths. More importantly, it is part of a larger series about entitlement and the need to dominate, or, to put it simply, bullies, in every area of life. When "The Gunlickers" are finished, I will go on to the next sub-series of the larger series, one that will focus on corporate bullies. I have already done some work, and will do some more, on man's need to dominate animals. Artists have reasons for doing things that seem to be difficult for people in other areas to understand. In some ways, a painting is no different than a cartoon, an article, a book, or a song, all of which can express an idea, but artists often employ metaphor, a concept that non-art people seem to have a hard time grasping.
Most things we encounter in life are literal, rather than metaphorical, and since arts education has been deemed unnecessary and has been all but obliterated from our schools, I expect that these occasional clashes when art meets the general public are only going to get worse. For some reason, cartoonists, authors, journalists, and songwriters, even though they might express strong ideas, are rarely/never targeted the way I have been. (I think my being female might have something to do with it, from the types of comments I have received?) In any event, I have no interest in subjecting myself or my family to any more poisonous, hateful comments or threats. Feel free to publish my statement, but only if it is published in its entirety.

Best, Kate"

Since these images "broke", I have been so busy writing two grants on deadline, teaching, and trying to finish my new website, that I have barely had time to think, much less read all the vitriol. In the spare moments I have, I am thinking about the clash (that has now happened twice) when The Art World and the real world collide. Ideally, art is supposed to be "for everyone": certainly, one of the reasons I have chosen to work in a representational manner is that the work might be accessible to viewers with or without an art education. But, we are not a literary society: our reality-show culture has lowered the common denominator for comprehension of anything above literal interpretation. In another context, I recently realized that one of my biggest obstacles in life is that, thanks to my father and my amazing AP English teacher, Ms. Dwyer, I process practically everything in the world as if I am being asked to do a literary interpretation: What is the overall theme? Is it a comedy, a tragedy? What are the precedents? What is this character's "tragic flaw"? Does this character follow an archetype? I will be mulling over this collision of worlds and what it means for the next few weeks as I carry on....

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Wednesday, September 02, 2015

So pleased that my work was chosen to be in the first installation of the new monthly Huffington Post blog, "Hot Off The Easel".

I am pulling late nights in an effort to finish my new website, in anticipation of applying for a few grants. I am also within a few weeks of releasing "Gunlicker III"......

Thursday, August 27, 2015

 "Gunlicker II", 2015, oil and acrylic on gatorboard, 16 x 20" oval (working photos). © 2015 Kate Kretz

Tuesday, August 11, 2015

A friend just shared this wonderful write up on my embroidery work on the Fiberart International Blog.

Monday, July 27, 2015

What People Don't Get About "Shocking Art"

"I don't want to produce a work of art that the public can sit and suck aesthetically... I want to give them a blow in the small of the back, to scorch their indifference, to startle them out of their complacency." - Ingmar Bergman

I recently published a new sketch on Facebook, a study for an upcoming work:
For me (and for many artists, I suspect), Facebook is an amazing occupational tool. When I complete a work of art, I can share it with others, and, often, amazing opportunities arise when people on the other side of the world are able to see work that is "hot off the press". Unfortunately, the FB experience is not the same as walking in to a museum or gallery, where you might prepare and adjust your mind to be challenged as you pass through a portal. So, a number of people (all from the 3% of my FB friends who are not in The Art World) lashed out at me, angry that they had to confront this image in their FB feed. I get it... I feel the same hostility when I encounter an image of an abused animal that I was not prepared for. I solved this problem by making a secret group for family members who want to see Halloween pictures, but do not want to see my art. I made the original image settings public on this piece, because if I only posted the work to a select group of artist and curator friends, they would not be able to share the image with their own colleagues. In this case, someone ultimately shared the image with a curator/writer who is working on a related project and an important connection was made, so the desired effect was achieved, but the posting shocked a few, who made their objections known.

One viewer went so far as to report the image to FB, but FB ultimately decided that it did not violate their standards. I wished aloud that the person who reported me had started a dialog instead, but, then I realized the issue is far too large to be addressed in a Facebook post. It seems that challenging work by all kinds of artists has the potential to elicit feelings of anger or trauma from those who are not accustomed to these images, and dismissal or cynicism from those who are entrenched in the Art World. Both inside and outside the Art World, there seem to be people who regard shocking art as merely an attention-getting device or publicity stunt, and I believe, with few exceptions, that this is simply untrue.

Each artist has their own process, their own unique obsessions and concerns. Some artist's interests will simply never lead them to make work that might be considered controversial. Their work may be even more potent and art historically important than work that might be considered "shocking", but unfortunately, we live in a society that sensationalizes everything. As a result, artists whose concerns and obsessions drive them to make work that is more sexual or political tend to get more exposure and more discussion surrounding their work. It's not fair, but there it is. Twice in my career, I have received over-the-top, glowing endorsements from other artists in professional situations, but they have felt the need to add a phrase about the fact that I "sometimes make art that provokes", and, in both cases, it was worded as a kind of accusation. To "sell-out" or compromise the integrity of your work is the worst indictment one can make about an artist, so I believe those kinds of statements should never be used in an off-handed way, especially when used to describe a person who has made a career of NEVER compromising on the art that needs to be made. I have never made work 'to sell" OR to provoke. I often use the the phrase "to trust someone as an artist" when I am referring to unwavering artistic integrity. I firmly believe that serious artists, for whom art making is a kind of addiction, as well as the way that they process information from the world, cannot really "help" the kind of art that they make. They are simply on a path, driven to distill, to find ever stronger or more effective ways to convey their own, unique vision. Barnett Newman once said, “Aesthetics is to artists what ornithology is to birds." Artists, like birds, are simply driven by their nature to "do what they do".

My particular modus operandi is to tell difficult truths, in a formally seductive way. My goal is to create "the beautiful gut punch". When I am in the studio, I make the work that needs to be made, the work that seems most urgent and relevant to the world that I am living in, and how I perceive it. It is an addiction, really, this need to say what needs to be said (as those who are close to me know): I could not exist if I was not able to process information this way. I read about and experience things that are happening in the world, and, because of the way that I am wired, the stories enter my body in a violent, visceral way, and they often stay there. (From talking to my friends, I believe many artists experience this and are what I call "super empaths"... I have one friend who describes it as being "too porous".) Most people I know try to forget about these news stories through distraction, by turning on the TV or reading a magazine, but, for me, those distractions don't work: the stories of man's inhumanity towards other beings plant their hooks in me, and stay.  Once something has pierced my consciousness, I turn it around in my mind... for days, weeks, or even years, I revisit the thoughts, looking for a way to transform them, get them out of my body in a way that will get others to feel, look and think about the absurd and problematic world we find ourselves in. When I am in the studio, it is my job to create the strongest, most layered work possible to get viewers to put down those beloved distractions and confront the work, which is also, in essence, confronting aspects of the world they might not want to think about. We are a society that is awash in images from dawn till dusk.... it is a real challenge as an artist to break through that noise to permeate a viewer's consciousness.

If an artist was to worry about who would be upset by the work they create, nothing would EVER get made. When I am in the studio, I DO think about how people might receive the work, but only to help me make decisions about the most effective way to communicate my concept. Our job as artists is to make a series of thoughtful decisions about medium, technique, mood, and formal elements like size, scale, composition, palette, etc. that will maximize the feeling or concept we are trying to convey.

While in the confines of the studio, I never think about my work with an eye towards potential sales, publicity or controversy. One of the reasons I make representational art is that I want the work to function on many levels, to be accessible to those who have no art education, but be layered enough to engage those who have access to a contemporary art context. I am aware that by making the work in a visual language that is easily read, at least on a superficial level, there is the potential of some people to miss the point or be offended when I try to tackle a difficult subject, but making people angry or upset is not my intention.  It simply is not a workable paradigm to create art that is designed to shock: it raises all kinds of problems for the artist.

"If you approach art with the intention of creating shock value, then you limit yourself and your audience, and will be put in the unenviable position of trying to top yourself with each succeeding effort. However, if you allow the process of creation to unfold in a more subjective manner, let the subconscious guide the pathway, and by chance shocking images present themselves, then you are released from the responsibility of intent. You no longer need the burden of expression to outdo yourself in a shocking manner - and it is of no purpose to focus merely on shock value for its own sake. Let the images give rise to their own intentions." - Richard Misiano-Genovese 

Once artists are expected to shock, it's that much harder for them to do so. - Jerry Saltz 

BUT it is important to note, once the work is done, I put on a completely different hat, and try to get the work "out there". I currently teach a workshop called "Publicity Hat" that espouses this philosophy... make the art that needs to be made without worrying about what others will think, then, if you believe in the work, rack your brain to think of ways to get it out into the world. Like many artists, until my mid-thirties, I just made the best work I could, had exhibitions, and "hoped someone would notice" what I was doing. One day, I had an epiphany... despite all I was taught about the virtues of humility, I am the best advocate for what I create. I believed my work was really strong, and, from reviews and personal responses, it seemed that others agreed with me, and I decided to do everything that I could to get my work seen once it left my studio. It was, in part, a feminist issue.... I noticed that many successful male artists seemed to have no problem blowing their own horn and going to great lengths to promote their work. I believe my work is important and relevant, and I want to maximize the potential for people I respect to see it. I can't tell you how many times I have shown my work to a curator and they have said, "I wish I knew about this work when I was putting together my show last year..." I do everything that I can to reduce the possibility of missing more opportunities like that, because, as any artist could tell you, there are few things more maddening.

So, that's my particular formula for my art career: make the strongest art I possibly can, work that tells the truth about the world I live in, with no regard for sales, publicity, etc., then take that work that I believe in, and get as many people as possible to see it.

I get why people are cynical about art they find challenging: we live in a celebrity culture where people seem to be doing ever more outrageous things to "stay on people's radar". I have even met a few artists (but only 2 or 3, in my lifetime of knowing thousands of artists) who have told me outright that they were just making work because they wanted to "piss people off", or because their  dealer suggested they should "make one with penises on it". But, here it is......


Case study: In 2006, I painted the work, "Blessed Art Thou".

I come from a Catholic background. I don't practice anymore, but I love the lurid colors and light in all the kitschy Catholic imagery that surrounded me as I grew up. "Blessed Art Thou" began as an impulse... I wanted to create my own assumption painting. I had always loved the imagery of Mary, in her blue robes, rising up through the sky on a cloud surrounded by putti.

I had incorporated some peripheral Catholic imagery into my work before, but I had never done a straightforward "religious" painting, and there was no reason in my mind to simply paint a copy of an Assumption if there were no more layers to it. I was driven to buy a few books on "Mary in Art", and I studied them, looking for an answer. I kept dismissing the idea of doing the painting and putting away all my references because I could not figure out how I could make it "work": make it relevant, contemporary and complex. This cycle happened three or four times before I happened to be standing in line at the supermarket one day, and I looked around me: virtually every magazine cover around me had an image of Angelina Jolie holding a child, or anticipating her new child with Brad Pitt. I knew I had my painting. I researched Angelina Jolie (I did not know much about her), and researched the psychology of celebrity worship, paparazzi, and tabloids. I learned about ties to consumerism and marketing. I thought about the people who seemed to be most consumed by celebrity worship, the people whose lives contrasted most with the idealized lives of our new heroes, our new saints, as depicted in the tabloids. I normally boycott WalMart, but spent some time there studying the oppressive lighting, the postures and mannerisms of the people who shop there. When you are poor, for example, (something I had firsthand experience of) you do not just swipe a credit card to pay: you mentally add up the contents of your cart, check to make sure you have enough cash, and often grip the money tightly in your hand, as if you are afraid it will fly away before you can pay.

I honestly never dreamed anyone would be upset by "Blessed Art Thou." Initially, I thought that, like all the paintings that had come before, it would only be seen by a few hundred people from the art world, if I was lucky.

As conservative Christians railed against my using the face of a "husband-stealing whore" (they knew ALL about her because they had read it in the tabloids!) in the context of an iconic construct, I reminded them that we don't know WHAT Mary actually looked like, and that many of the famous paintings of the Virgin were actually made using prostitutes as models. What was most fascinating to me was that if Christians did not just have a knee jerk reaction, instantly yelling "blasphemy" to a celebrity being represented as the Virgin Mary, if they allowed themselves to really look at the painting and think about it, they would likely agree with some of the major themes in the painting.

I think a lot of "shocking" contemporary art is like that. An open mind, curiosity, and the ability to step outside of one's comfort zone might transform an initially affronted viewer into an accepting or even an admiring one.... I know I have come to love a lot of work that I did not initially understand. An art history class, or even a liberal arts undergraduate education, makes it even easier. For those Americans saddled with an anti-intellectual demeanor, the elitism of the art world may actually be part of the affront, and stand in the way of the viewer actually trusting themselves enough to unpack and read the image.

Of course, when you have studied and taught art for 25 years, there are few art works you find offensive anymore. Upon completion of this work, when I put on my "Publicity Hat", I did understand that "Blessed Art Thou" was different. After creating personal art for several decades, this was a piece that looked outward, rather than inward. This realization caused me to draft a press release that was sent to some of the news sources that might be interested in this subject matter, in addition to my usual list. I was as shocked as anyone when it "went viral", appearing in every major newspaper in the world, many TV news programs, etc. I got lots of love mail, and almost equal amounts of hate mail. I received death threats on my cellphone, and we put in an alarm system. As exciting as it was at the beginning, this painting has its own complex history, and there were many negative things that happened that I never even talk about. I doubt it is the best painting I have ever done, but despite the fact that there are lots of paintings of celebrities out there, this one was in the right place at the right time, and struck a chord. At the time, "helpful" strangers suggested that I hire a publicist. Magazine editors emailed me and wanted to know when the next one would be coming out so they could get "the scoop", etc. Of all the absurd and mean spirited things that were said to me, there was only one that hurt: "She did it for the publicity." After 20 years of making rarely saleable, time consuming, personal work, not compromising my vision in any way, these people who had no concept of me or my lifetime of work accused me of pandering and selling out.

At the time, I had a large cartoon for the next related painting ready to transfer to canvas, and I rolled it up and put it away, because I did not want that kind of publicity for my work. I went back to doing personal work. That is, until last year. 

Our family hit a 5 year "rough patch", as many did, in 2008. I continued to make small intimate pieces through a great number of personal difficulties. Meanwhile, I had been gestating a series, on all the worries that kept me awake at night. I felt there must be a common root to so many of the world's problems, and wanted to investigate it. Sometime in 2012, while I continued to embroider about my new status as a mother and the familial dysfunctionality that has long informed my work, I started research for a new series that would investigate entitlement, and the need to dominate. The ongoing bibliography of my research that feeds this work (now over two year's worth) is so vast that I started documenting it at a certain point, and, when the work is finished, I will publish it. I combed through "On The Origin of Species" by Darwin, and the subsequent reframing of his concepts by Julian Huxley. Huxley was the one who emphasized "survival of the fittest", and this is the mantra we accept as the excuse for a lot of human's dominating behavior. In contrast, Darwin actually only mentioned this concept only a few times, buried amidst hundreds of mentions of "love" and "cooperation". I read contemporary scientific articles further confirming that animals are much more democratic and cooperative than we ever suspected. For two years, I read about (and looked at countless images related to) trophy hunting, rape culture, corporate crimes, pornography, mass shootings, and serial killing, and it was emotionally debilitating. By the end, I came very close to checking myself into a psych ward for the first time in my life, but I was also excited by my discoveries and the prospect of this new series: the significance of my direction seemed to be reinforced daily by current events.

My lack of an adequate home painting studio allowed me an unusual amount of time to gestate this work before actually making it. I finally was able to afford a warehouse space last Summer, and, by that time, I saw that the series was going to take me 2-3 years to realize. I have never had a clearer vision for a body of work. Although some may claim that it is not possible to do something new in this day and age, after all my research I feel confident that a few of the things I am trying to do are unprecedented. 

So, this image that has already begun to elicit some backlash is a sketch for a future work called "POV", and here is how it came to be:
"POV" is a porn term for "point of view", except my image depicts the point of view of a woman, which is rarely, if ever, shown in heterosexual porn. (If you've never taken an art history class, you might want to acquaint yourself with some information about "The Male Gaze" as background to this piece.) The finished work (as opposed to this sketch/study for part of the finished painting) will be, among other things, a metaphor for power relationships in society at large, and a way to begin looking at the entitlement and misogyny that is often present in rape culture and pornography, a subject that we never get to talk about because it instantly devolves into conversations about censorship. As with a lot of my work, there is also some humor here: visually, as well as conceptually, I am interested in how the head is partially eclipsed by the penis. The dark background is significant, as is the fact that the figure is shown at an angle, and the oval frame also hangs on the wall at an angle, to further disorient the viewer. It is tedious to spell this all out for people, like a shopping list, but the point is...

I did NOT just walk into the studio one day and say, "Let me do something really provocative that will stir up some trouble, upset my family, and, if I'm really lucky, get me banned from Facebook, my greatest art distribution resource.  I know! A penis!  If that doesn't work, I will try something else... a bigger penis, or maybe three of them!"

As a matter of fact, as I pointed out earlier, a savvy artist is going to think twice about using a penis in their work, because it would be judged and dismissed by some of their peers as being an easy solution to "charging up" a work, but I believe it to be absolutely necessary in the series that I am doing, and would not be putting forth my highest truth if I did not do what the work requires.

I am beginning to believe that non-artists think that a certain perverse pleasure is derived from upsetting people, and then we simply reap the many benefits of being a "controversial" artist. One of my favorite studio wall quotes is by Susan Sontag, who said, “He who transgresses not only breaks a rule. He goes somewhere that the others are not, and he knows something the others don’t.”

And here's what I know: the reality is, unless you are a top 1% artist, making challenging or confrontational art works is NOT an enviable position: it works AGAINST you in a dozen ways. If people are upset by the first image of your work that they see (even curators), they may never want to delve deeper into your lifetime of work. You are much less likely to sell work that makes people uncomfortable.... no one wants to hang it in their house. You are severely limited in the venues where you can show the work... non-profit spaces often have classes for children, curators may not want to deal with the hassle of potential backlash. You might not be hired for some teaching jobs, no matter what your qualifications are. If you are making feminist work (meaning, in this case, work that shows the point-of-view of the 50% of people who make up this planet), your work is labeled as something that "most people" are not going to be interested in. Work that shows a distinctively female point of view is pigeonholed, not considered part of the "mainstream" and might only be shown in Feminist Art spaces that are rarely reviewed and are taken less seriously by the Big Time Art World. If your work DOES get reviewed, you have to hope that the critic is educated/open minded enough to not be dismissive of work that represents an unconventional point of view. In addition, you are always wondering who is Googling you, how much control they might have over your (or your family's) life, how deep they are going, and whether they understand the function of art (likely not). You need a REALLY supportive spouse who believes in what you are doing, and who is not afraid of what others might think. Your work can alienate you from beloved family and friends who don't get what you are trying to do. This makes you feel completely isolated, like a sane, mission-obsessed movie protagonist that everyone thinks is crazy.

I've already been called "The Devil" to my face (by another "artist" in a conservative town). With this particular series, I am bracing myself to be called "an Angry Woman", a feminazi, a pervert (or one of the many words from the "sexually active women" lexicon), and an attention whore. In short, my life would be a LOT easier if I could just go back to painting night landscapes. But I can't. So I harbor the hope that, while the PTA moms might not want to talk to me or have a playdate, my daughter will know that I followed my path in life, did what I thought was right, and even tried, with the knowledge and gifts that I have been given, to make the world a better place for her by raising a few questions.

Some of you are still scratching your heads, wondering, "How does a drawing of a penis make the world a better place?" If you really want to know, follow the link I suggested, read a book on feminist art, take a class... an art history class, a women's studies class. Ask a woman friend how she feels when she looks at my drawing. Ask yourself why marks on a piece of paper upset you so. Ask yourself why another scandalous image such as this one, painted by Courbet and hanging in the Louvre

while still being provocative, might feel less offensive or threatening than mine. I am aware that, as it stands, being only a sketch for a more complex finished work, my drawing might be seen by some only as an erotic image, but if you have occasion to see the final work that this is a study for and it upsets you, remember to ask yourself why you expend energy / get your panties in a twist about a painting, but are not nearly as outraged at the reality that prompted the art to be made... what is happening around us every day, be it manifestations of rape culture, gun worship, mass shootings, corporate destruction of the one planet we live on, the killing for sport or factory farming of sentient animals, misogynistic porn, or any other form of domination.

You know.... the stuff that I find obscene.


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Tuesday, June 16, 2015

Guns, and The Men Who Really, Really Love Them

"Gunlicker I", 2015, 20 x 16" oval, acrylic & oil on gatorboard. © 2015 Kate Kretz
First in a series of Gunlicker paintings. The series was begun around this time last year. There are currently 5 more paintings in-progress, exploring guns as fetish objects. A new painting will be completed every few weeks during the Summer of 2015. (click to enlarge images)

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Sunday, May 10, 2015

These will make more sense in the context of the other works in progress, but here are the newest pieces, working photos:

"Trophy / Trophy / Trophy", 2015, 13 x 18", ink on paper:

 "Rape Stand for a Dog Fighter", 2015, 18 x 24" ink and photo on paper:

Tuesday, April 21, 2015

Here is a photographic walk-through of my solo show at the Arlington Arts Center, up through June 28th.

Saturday, April 18, 2015

Opening tonight! My solo show at Arlington Arts Center in Washington, D.C. Opening reception from 6-9 pm. Here is an embroidery teaser from one of my new pieces in the show. OPen through June 28th.

Tuesday, March 17, 2015

I will be the keynote speaker for Miami-Dade Kendall's "Arts & Letters Day" on Tuesday, March 31st, from 11:15 a.m. – 12:15 p.m.

Location: McCarthy Auditorium, Room 6120. Free and open to the public.

"Kate Kretz will discuss the creative process in the expansive context of her work, from the ancient practice of silverpoint and encaustic, to painting, clothing as sculpture, and embroidery using human hair.

Her provocative and sometimes controversial work is the result of "following threads" that include ever-shifting combinations of research, tapping into the subconscious, listening to The Universe, and pushing the boundaries of materials in search of her idiosyncratic vision."

I did not pen this, but it is gathered from various accurate sources: I almost cut part of the above description before posting, but stopped, because it's true: The Universe tells me what to make.

Sunday, November 23, 2014

New Work

I am obsessively developing a new project that I feel will be the most important work of my life. I have never had a clearer vision or stronger conviction for a body of work. I have shown the sketches and life-size cartoons to several curators, and we all agree that the imagery I am working with is something that has not been seen before. Several people have told me, “you can’t do that!’, which, to me, confirms that I am really on to something. 

Difficult life circumstances have dictated series of small, intimate works for a while now, but, the past two years, I have also been researching and gestating the series that is now unfolding in the studio. The work is difficult, confrontational, and, after all the research I have done, I can say with confidence that some of it is unprecedented. Although there will be some fiber-based work, this series also marks my return to painting after a 6-year hiatus. The circumstances of the last 5 years have not been conducive to creating large paintings until very recently, when I was able to sublet a decent size studio for the entire summer at a very low price. The experience changed my life: I was finally able to start work on this series, and I realized that I had to find a way to stay in an adequate studio to execute all of these large paintings. This series will consume me at least through 2015. As 2 galleries showing my work have closed in the past few years, I will be looking for someone brave enough to show it, or I will do a pop-up show on my own. I am furiously writing grant proposals to fund the studio and some of the expenses of production... if the grants do not come through, I will resort to an art-based, vetted fundraising campaign. 

There are sub-series within the larger series. The first sub-series of 6 is close to completion. Here is a teaser:

Tuesday, October 14, 2014

My Vagina Dentata Purse is featured in this newly-released book, Cultural Encyclopedia of The Penis, written by Michael Kimmel, Distinguished Professor of Sociology at Stony Brook University,
Christine Milrod, PhD, is a licensed psychotherapist,  and Amanda Kennedy, MA, a Ph.D. candidate in Sociology at Stony Brook University.