Jane Gilmor: I’ll be back for the cat

A.I.R. Gallery in New York has just published Jane Gilmor: I’ll be back for the cat by art historian and critic Joy Sperling with essays by critics Lesley Wright and Matt Freedman. A special edition of her book that incorporates original metal relief artwork is also available.

From The 1976 All-American Glamour Kitty Pageant and her 1980's cat-masked Goddesses in Greek ruins to her twenty-five years of community-based work in shelters and hospitals, Jane Gilmor’s search is for those entanglements of image, language and space through which we try to locate our own identity.

Hardbound $35 Handmade Copper Cover $75

Please check with Prairie Lights Bookstore for availability of the Handmade Copper Cover.

Download the PDF

About the artist

Gilmor has exhibited her work internationally for 38 years. She began showing at A.I.R. in the late seventies and was a national member from 1986 -2006. In 2011 she was one of five artists selected by national nomination to receive the prestigious Tanne Foundation Award for her lifetime achievements. She has received NEA Visual Artist's Fellowships, a McKnight Interdisciplinary Fellowship, and residency fellowships in Ireland, Italy, London, and at The McDowell Colony. In 2005 she was a Senior Fulbright Scholar in Portugal.

Her work has been reviewed in journals such as The New York Times, The Chicago Tribune, and The New Art Examiner and is included in several books including Lucy Lippard’s, OVERLAY: Contemporary Art and the Art of Prehistory; and Broude and Gerrard’s The Power of Feminist Art: The American Movement of the 1970’s History and Impact, Abrams, 1993; and Pioneer Feminists: Women Who Changed America, 1963-1976, B. Love, University of Illinois Press, 2006. In 2009 she was a contributor to Cabinet magazine.

Gilmor attended The School of The Art Institute of Chicago, Iowa State University and has an MA and MFA from the University of Iowa School of Art. She is professor emeritus at Mount Mercy University in Cedar Rapids.

Publication of this artist’s monograph is supported in part by a grant from The Iowa Arts Council, a Division of the Iowa Department of Cultural Affairs, funds from a Tanne Foundation Award and by Mount Mercy University’s Faculty Development fund.

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