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
Kama Kama Corner Pathetic and Pitiful (Un)Seen Work: Traditions and Transitions part 1 (Un)Seen Work: Traditions and Transitions part 2 (Un)Seen Work: Traditions and Transitions part 3 The Architecture of Migration: Iíll be back for the cat Along The Road In the Studio
Full resume 4-page resume Articles & Lectures
BED SHOE HOME AIR Gallery A.I.R. Gallery History 2008 Iowa Arts Council Lucid Planet Mount Mercy University Act Out: Performative Video
1989 Chicago

Installation detail, Artemisia Gallery, Chicago, foreground sculpture 5 ft. h, metal, wood, video lights, 1989

Late 80's Sculpture

During the 1970's and early 80's, I combined metal repousse with video, film and photo documentation of my performance tableaux in Greece, Egypt, Asia, and Iowa. A recurrent theme then and now is the questioning of cultural myths about women.

Gilmor's aims are more far-reaching, and found objects - including notes, shovels, rocks -- represent just one element of a project that includes photographs, video and performance. Mixing the mythic and the prosaic, Gilmor is out to mine the resonances or archetypal figures and situations in contemporary worlds. Wall altars seem familiar but just out of reach. Her monumental floor pieces, resembling tombs or gravestones, tend towards more complexity: One has dozens of nude figures with animal heads hammered in relief on its metal surface; another incorporates a small television monitor with a videotaped performance. Both formats evince Gillmor's fascination with both Christian and pagan - especially early Egyptian - imagery. The recurring figure in many of these works is a woman with the head of a cat derived from an Egyptian Goddess.

David McCracken, "Group Show proves Artemisia's Insight", Chicago Tribune Friday Oct 20, 1989 Section 7 page 50
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