Lenka Clayton is a British conceptual artist whose work considers, exaggerates and alters the accepted rules of everyday life, extending the familiar into the realms of the poetic and absurd. In 2012 Lenka founded An Artist Residency in Motherhood — a structured, fully-funded artist residency that takes place inside her own home and life as a mother of two young children. She is currently serving as the first Artist-in-Residence-in-Motherhood.
Her work has been exhibited widely including the Carnegie Museum of Art in Pittsburgh, FRAC Le Plateau in Paris, Kunsthalle St. Gallen in Switzerland, Anthology Film Archives in New York City, a Danish mediaeval tower, Tehran International Documentary Festival in Iran and just after the evening news on Channel 4 TV in the U.K., as well as in publications including Frieze, Art & Agenda, and Typewriter Art: A Modern Anthology.
Lenka Clayton holds an MA in Documentary Direction from the National Film & Television School, UK and a BA in Fine Art from Central St. Martins, London. She has taught at institutions in the U.K., US and Sweden including three years at University of the Arts, London and a stint as Theodore Randall International Chair at Alfred University in New York. She was recently awarded a Creative Development Grant from the Pittsburgh Foundation and a Sustainable Arts Foundation award. She lives and works in Pittsburgh, Pennsylvania where she was named Emerging Artist of the Year 2013. In 2014 she was awarded a Carol R. Brown Award for Creative Achievement. She is currently artist-in-residence at the Fabric Workshop and Museum in Philadelphia and working on a major project with artist Jon Rubin at the Guggenheim Museum in New York City.
Dr Andrea Liss
Dr Andrea Liss’ engagement with feminist art, gender encounters and the maternal embraces writing, research, teaching, curating and community collaboration. Her book Feminist Art and the Maternal (University of Minnesota Press, 2009) is critically noted as a pioneering book in the fields of maternal studies and visual culture. Dr Liss is passionate about new forms of knowledge that arise when thinking through the maternal as lived experience and as critical discourse where love and compassion are the founding ethics of cultural politics. Her current projects are concerned with maternal ethics, intergenerational memories and mourning. Recent projects include “Maternal Aesthetics: The Surprise of the Real,” a guest curated issue of Studies in the Maternal issue 5(1) 2014) and the exhibition Reel Mothers: Film, Video Art and the Maternal at the California Center for the Arts, Escondido, 2016.
She is also the author of Trespassing through Shadows: Memory, Photography and the Holocaust (University of Minnesota Press, 1999). Dr. Liss is a Professor of Contemporary Visual Culture and Cultural Theory in the School of Arts at California State University San Marcos and is a recent recipient of a Fulbright Scholar Award.
Prof Carol Mavor
Carol Mavor calls herself an artist-historian.
Carol Mavor has published five books. The most recent monograph Blue Mythologies: Reflections on a Colour (Reaktion Books, 2013, translated into Turkish in 2016, Chinese 2016), ‘coaxes us into having a less complacent attitude…even when it comes to something as apparently innocuous as a color’ (Los Angeles Review of Books). Her Reading Boyishly: Roland Barthes, J. M. Barrie, Jacques Henri Lartigue, Marcel Proust, and D. W. Winnicott was named by Turner-Prize winner Grayson Perry in The Guardian as his 2008 ‘Book of the Year.’ Her newest visual-culture project, Aurelia: Art and Literature Through the Eyes and Mouth of the Fairy Tale, is forthcoming from Reaktion Books in 2017.
Mavor received an Arts Council grant for her thirty-nine minute, black-and-white, moving-image portrait, entitled FULL, made with artist Megan Powell (2014). FULL is an elegiac approach to male anorexia. It tells the story of a mother and her ten-year-old son Ivo who prefers not to eat. As artist Mary Kelly has written of the film: ‘Mavor’s lyrical narrative fits the film essay genre like a glove. Powell’s stills and close-ups hold the viewer in a tight embrace, evoking an anxious proximity to the mother’s body. The symptomatic consequences of that fullness are felt not only by the child, who refuses to eat, but also by the narrator herself, who is reticent to relinquish the maternal femininity that brings her own mother closer in “being like her.”’ FULL will be screened at London’s Freud Museum on 12 September 2016, with an in-conversation with Susie Orbach.