Elementary - High School Sewn Paintings Early Performances The 1976 All American Glamour Kitty Pageant The 1976 All American Glamour Kitty Pageant Show Great Goddesses Along The Road
Terrorist Kitty and Erma Metal Reliefs Sculpture Installations 1984 NAME Show - Chicago Mid 80's 1989 Chicago Wall Frames Along The Road
Metal Drawings and Books Waterloo Art Center Exhibit Brochure Homeless Drawings 1986-91 Bemis 1993 Bed Shoe Home YWCA Windows 95 Wisdom Picture Pillow Story 1971-2007 Prints Along The Road
Blind in Portugal Blind in New York City Migration and Fatigue Workshift Slow Dip Steady Drip Metal Notes and Books 1979-2009 Homeless Notes Morton's Salt and a Semester at Sea Quality Chef BCISUC In the Studio Along the Road
BED SHOE HOME BED SHOE HOME WORKSHOPS Pathetic and Pitiful Kama Kama Corner (Un)Seen Work: Part 1 (Un)Seen Work: Part 2 (Un)Seen Work: Part 3 The Architecture of Migration Along The Road In the Studio
Full CV 4-page CV Articles & Lectures
AIR Gallery A.I.R. Gallery History 2008 Iowa Arts Council Lucid Planet Mount Mercy University Act Out: Performative Video
Sculpture Installations

Great Goddesses: This Seems Peculiar, wall relief, 36-gauge aluminum repoussé, photo dolls, Polaroids, wood, lights, stain, acrylic polymer, gold leaf, found objects, 40”x 24”x6”, 1983

Sculpture Installation Early 80's

In works such as 'Great Goddess House Shrine' (1982), Jane Gilmor set ancient feminine symbols from Catal Huyuk in a copper repousse altar, which enclosed a video of a ritual she performed. She suggests that the altar's first use as a sacred site for sculpted images of the Great Goddess could be reconfigured ---resacralized –as a place for modern-day video images of the Goddess within herself.

Kay Turner, Beautiful Necessity: The Art and Meaning of Women's Altars Thames & Hudson, 1999, (pg 74, ill pg 74, pg 91)

The photo tableaux and wall shrines by Jane Gilmor present such a startling collision of kitsch with myth that one may not know whether to chuckle or recite incantations. A masterful mélange of the modern and the ancient, Gilmor's motivations lie in the "construction and deconstruction of myth;" her great goddesses enact sacred rites in the ruins of temples, counterparts to the rituals that must have once taken place there in honor of mythological deities. The feline headed personae, reminiscent of vestal virgins or a kitty chorus for a Greek tragedy, appear on her sculptural assemblages and shrines engaging in their enigmatic sacraments, in miniature, in relief, in photos, and on video. These works question all that we associate with modern religious pomp and circumstance, the solemnity of which seems a far cry from the objects created and performances staged by Gilmor, which blend a ceremonious melodrama with a healthy dose of satire

Paul Brenner, assistant curator Great Goddesses: Sculpture and Photo Tableaux by Jane Gilmor Real Art Ways, Hartford, Ct. 1988

During the 1970's and early 80's, I combined metal repoussè with video, film and photo documentation of my performance tableaux in Greece, Egypt, Asia, and Iowa. The forms of the smaller wall shrines and the larger works using video and film are inspired by the roadside shrines of rural Greece, Turkey, and Italy A recurrent theme on both the relief metal surfaces and the video and photo images incorporated into them is a questioning of cultural myths about women. These shrine-like sculptures are reminiscent in form to the vernacular folk architecture of rural Greece and Mexico where I traveled and documented roadside religious structures in the mid and late 1970's. Indeed these objects are intended to create a ritualistic ambience not unlike that of some bizarre roadside shrine. In these works I am in the deeper relationships between myth, experience, and culture. For me these structures and installations functions as shrines to the mythic potential of ordinary life, embodying its most peculiar, ridiculous, and meaningful (less) qualities.
Copyright © 2018 - Jane Gilmor - All Rights Reserved