#kate kretz

[agirlnamedbone]

Kate Kretz // Feral // 2012 // human hair embroidery on hair, velvet, convex glass, frame

[bugskeleton]

kate kretz, une femme d’un certain âge, 2014

(grey hair of many women, hand embroidered on black cotton)

[weavingcloth]

My Young Lover, Kate Kretz , 2005

“My boyfriend gave me his hair in a box, claiming that i loved his hair more than i loved him”

[heartyearning]

Kate Kretz

[polkadotmotmot]

Kate Kretz - Sacred Ovaries, 2001

[rollmouse]

Kate Kretz human hair embroidery

[cannibalcaprine]

Is this bondage to you/j

https://www.tumblr.com/emmaklee/648653576114176000/kate-kretz-embroidery?source=share

. . .yes

[citedesdames]

WOMEN’S ART — RED

Adriana Varejão | Shannon Taylor | Jen Mazza | Kate Kretz | Elisabeth Louise Vigee Le Brun | Eiko Ishioka

[michellemabelle08]

BITÁCORA ESCULTURA

VULNERABILIDAD

La vulnerabilidad es un valor psicológico, que en nuestra sociedad se le ha dado un valor conotativo negativo relacionado con la debilidad. Según la profesora e investigadora Brené Brown la vulnerabilidad no es debilidad, sino la medida más precisa de nuestro valor.

Objetivo:

Realizar una instalación(? que tenga como tema principal la vulnerabilidad humana.

Objetivos específicos:

Investigar acerca de la vulnerabilidad humana.

Informar al público acerca de la importancia de ser vulnerable.

Generar una instalación con sábanas y cabello humano.

"La vunerabilidad no es debilidad"

Aceptar nuestra vulnerabilidad implica que no nos reconocemos como dioses ni superhéroes, sino como seres humanos con heridas y asuntos pendientes, que sufren y experimentan dolor, pero que a pesar de ello nos aceptamos tal y como somos porque somos sinceros.

Avances

Sábana 1

Referentes Visuales

Kate Kretz

El trabajo de esta artista estadounidense consiste en pequeños bordados con cabellos humanos. Su soporte son almohadas, paños o pedazos de tela donde puede bordar esculturas realizadas con cabellos.

Detalle de Oubliette, 2006

Zaira Pulido

Referencias

Brown, B. (2016). El poder de ser vulnerable. Urano.

Sánchez, G. (2019). Ser vulnerable no es débil. Huffpost. https://www.huffingtonpost.es/amp/entry/ser-vulnerable-no-es-ser-debil_es_5dead65fe4b0d50f32b3588c/

Butler, J. (2014). La condición vulnerable. Universidad Autónoma de Barcelona.

[saddayfordemocracy]

“Not Normal Art in the Age of Trump,” by Karen M. Gutfreund,

The book documents the visual arts side of the anti-Trump movement in a curated collection featuring the work of 147 international artists. It is a lasting, eye-catching and impactful testament of the opposition movement against “Shithole and the destructive climate he has created as 45th (Non elected by the peoples) President.

“Racism is on the rise and what we need from artists is a way to visualize and vocalize a counter narrative, one about love and compassion, inclusion and diversity. In 'Not Normal,' the artists’ righteous energy calls out these criminals in power and demands the public hold them accountable."

Justin Hoover (Director of Collective Action Studio and independent curator)

Sara Peak Convery “Divided States of America (The FEAR Flag)”, (2019) Printed U S Flags, thread, 34 x 53 inches,

Squeak Carnwath “Alphabet for a Season of Corruption. Gouache on polypropylene.” (2018-19) 26 sheets, ~12 x 9 inches each. Photo Credit: Carnwath Studio,

Penny Mateer, “6/3/2020 Lives Buffeted by Terrorism and Injustice”, Hand-cut newspaper collage, 7 x 5 inches 

Holly Ballard Martz “Trophy for tyranny (tarnished reputation)”, (2019), NY Times, brass stencils, brass, aluminum rivets, 10 x 21 x 5 inches,

Salma Arastu “You Loot We Shoot”, (2020) Acrylics and charcoal on unstretched canvas, 40 x 58 inches,

Squeak Carnwath “Pants on Fire”, (2017), Oil pastel on slate chalkboards. Dimensions variable. Photo Credit: M. Lee Fatherree,

Kate Kretz “Hate Hat”, (2019) Deconstructed MAGA hats, cotton, thread, Edition of 3, 28 x 9 x 12 inches,

Michael D’Antuono “Mixed Messages”, (2019) Oil on canvas, 66 x 44 inches,

Jonathan Talbot “Border Wall Bricks”, (2020) Ceramic bricks, 3.5 x 8 x .5 inches each.

[seriousartplace]

Art World Truth 2, 2007 by Kate Kretz (b. 1963)

Embroidery on thrift store overalls

"The superstar artists that make the newspapers these days run their art practice like corporations: the brand is marketed, and the work is outsourced to assistants to maximize profits for all. I am not against having assistants, I have used them myself on occasion, but part of my work has always been about the time invested in the objects, thinking of it as a gift given to the viewer. I create my own paintings from start to finish, often taking 9-12 months to complete. The peculiarities of the way I work have been a source of frustration to me, and after searching for a way to reconcile my art-making reality with that of the contemporary art world, I created this series is a way of emphasizing and honoring my process. Each garment has the paint colors from a particular painting wiped on them, as it is my habit to wipe brushes on my pant legs while working." ― K K

[agirlnamedbone]

Kate Kretz // Tempest // 2011 // tarnished silverpoint on found spoon

[bugskeleton]

kate kretz, 2010 & 2013 (mother's hair from gestation period embroidered on child's garment, velvet)

[corporationsarepeople]

As artists look for new paradigms to cultivate audiences for our work, we gravitate towards platforms like Facebook. Many artists are introverts, or suffer from social anxiety. For them, social media is a godsend, because they can share what they make without awkward personal interactions and dreaded small talk. (Someone like Van Gogh, for example, would have loved it.) I’m an artist living outside of NYC, with a teaching job, a compulsive studio practice, and a child, so I rarely have time to socialize. I post on Instagram, despite the fact that I find the calculated branding, slickness and “following” games off putting, but most of my social media time is spent on Facebook. I like the longer conversational format, the ability to post multiple images / albums, and the opportunity to trade pictures and links back and forth in extended conversations. It’s become my primary source of social interaction with my peers, and my art career “distribution center”.

When it comes to my studio practice, I have always believed that art is supposed to tell the truth about things people don’t want to talk about. Within that realm, eight years ago my focus shifted from the personal to the political. I was thinking about the world my newborn daughter would grow up in. I was overwhelmed by the daily news and was starting to pick up on cultural rumblings all around me that were quite unsettling: that drove me to research and creation at an unprecedented, feverish pitch that continues to this day. My practice is now devoted to calling out injustices against disparate parts of our community, investigating overlaps to suggest that, although the victims may change, the perpetrators are often the same. I have named the ongoing series “#bullyculture”, because I believe that the U.S. cultivates aggression and entitlement in a myriad of ways, both overt and subtle. Much of the work in this series foreshadowed both the 2016 election and the #metoo movement by several years.

The series is difficult and provocative: it requires warning signs when exhibited. Early work on the fetishization of guns resulted in threats to me and my family. Some have said or implied that I am “asking for” whatever happens to me as a result of making this series. In response, I maintain that 1.) I have never heard anyone tell a male artist that he was “asking for it” (that term is, after all, the language of abuse), and, 2.) none of the art I have produced is more disturbing than the things happening in real life that inspired me to make the work. I am simply embroidering, burning wood, drawing or painting… not hurting humans, animals, or the earth, like the perpetrators featured in my work. Get outraged at the injustice, not the art calling it to light.

Within the larger “#bullyculture” context, there are sub-series: the one that currently engages me is called “The MAGA Hat Collection.” ...

[adamlichi]

Kate Kretz “The Predator is Plain to Those Who Were Once Prey” (2017)

via 

[emmaklee]

Kate Kretz embroidery