Woodstock Artists AssociAtion & MuseuMSOLO GALLERY

deceMber 1 - 30, 2018

ARTIST Q&A saturday, december 8, 3 PM

RECEPTION saturday, december 8, 4-6 PM

CAROLE KunStAdt: PRESSinG On

PRESSING ON: Homage to Hannah More, 2017 - 2018 antique sad irons, scorched antique lace, paper: pages from An Estimate of the Religion of the Fashionable World: By One of the Laity, London, 1791, Hannah More.

1. OVUM V/Breakthrough, 2018 silk thread, paper: bookplates, 1890 8.75 x 8.625 in. $1400

2. Aphrodite’s Purse, (OVUM XII), 2018 vintage metal egg basket and hand blown milk glass nesting eggs, knotted monofilament, Swarovski crystal beads, cultured pearls 25 x 20 x 20 in. $5000

3. Connected, 1999 graphite, oil pastel, gouache 11.5 x 16 in. $900

4. Interconnected, 2000 graphite, oil pastel, gouache 12 x 9.5 in. $700

5. In Balance, 2000 graphite, oil pastel, gouache 16 x 11.5 in. $900

6. Sandwiched, 1999 graphite, oil pastel, gouache 11.5 x 16 in. $900

7. PRESSED, 2018 antique wooden ironing board 66 x 15.5 x 1 in. (included with PRESSING ON installation in entirety - price on request)

8. Convergence, 2000 graphite, oil pastel, gouache 11.5 x 16 in. $900

9. Foursome, 1999 graphite, oil pastel, gouache 16 x 11.5 in. $900

10. Tipsy, 2000 graphite, oil pastel, gouache 12 x 9.5 in. $700

11. Squeezed, 2000 graphite, oil pastel, gouache 11.5 x 16 in. $900

12. A Trio II, 1999 graphite, oil pastel, gouache 16 x 11.5 in. $900

13. OVUM VI/Breakthrough, 2018 silk thread, paper: bookplates, 1890 7.75 x 7.75 in. $900

14. OVUM XIV/Breakthrough, 2018 silk thread, paper: 1880s Gronvold colour bookplates 6.75 x 6.5 in. $900

15. OVUM III, 2018 antique metal egg basket and wooden nesting eggs, paper: fragments from Woman of the nineteenth century, Margaret Fuller ossoli, boston, 1855 11 x 8 x 8 in. $3000

16. OVUM VII/Breakthrough, 2018 thread, paper: bookplates, 1890 12.325 x 12.325 in. $2100

17. OVUM VIII/Breakthrough, 2018 silk thread, paper: bookplates, 1897 9 x 9 in. $1200

18. OVUM IX/Breakthrough, 2018 silk thread, paper: chromolithographs 1880s 9.25 x 9.25 in. $1400

19. OVUM I, 2016 ostrich egg, steel cut tacks, fur, paper: fragments from Woman of the nineteenth century, Margaret Fuller ossoli, boston, 1855 6.5 x 10 x 10 in. Private collection

20. OVUM II, 2016 linen thread, fractured ostrich egg, twigs, paper: fragments from Woman of the nineteenth century, Margaret Fuller ossoli, boston, 1855 5.75 x 10.5 x 8.5 in. $1800

21. OVUM XI, 2018 found bird’s nest, down feathers, sand-coated porcelain egg, paper: fragments from Woman of the nineteenth century, Margaret Fuller ossoli, boston, 1855 9 x 9 x 5 in. $900

22. OVUM XVI/Breakthrough, 2018 thread, paper: 1855 hand colored wood engravings 12 x 8 in. $1400

23. OVUM IV/Breakthrough, 2018 thread, paper: bookplates, 1890 8.5 x 8.5 in. $1400

24. OVUM XV/Breakthrough, 2018 silk thread, paper: 1875/1892 hand colored wood engravings 9 x 8 in. $900

25. OVUM X/Breakthrough, 2018 silk thread, paper: chromolithographs 1880s 6.25 x 6.25 in. $800

26. OVUM XIII/Breakthrough, 2018 silk thread, paper: 1880s Gronvold colour bookplates 8.75 x 8.5 in. $1200

Juror, 2018 solo show Artists: Kenise Barnes - director, kenise barnes Fine Art

Founded 1919, Woodstock Artists Association & Museum,28 tinker Street, Woodstock, nY 12498845 679 2940 | woodstockart.org

EXHiBitiOn CHECKLiSt

installation (table) -

PRESSING ON: Homage to Hannah More, 2017 – 2018 antique sad irons, lace, linen thread, sandpaper, steel tacks, fur, cloth, paper: pages from An Estimate of the Religion on the Fashionable World, by One of the Laity, London 1791 by Hannah More varying dimensions: 6.5 x 4.25 x 4.5 in - 2.5 x 1.535 x 2 in small - $400 each large - $900 each

Carole Kunstadt: PRESSinG On

born in boston, with a childhood in a small new england town, kunstadt received a bFA, magna cum laude, from Hartford Art school, Hartford, ct and continued with postgraduate studies at the Akademie der bildenen künste, Munich, Germany. Five years ago she re-entered a familiar landscape as in her youth, moving to the Hudson Valley, having lived for 35 years in nYc. Awards include the 2017 kuniyoshi Fund Award, the kuniyoshi Fund committee in cooperation with WAAM; Medal of Honor & the Anna Walinska Memorial Award 2017, national Association of Women Artists; Award for excellence 2016, edward Hopper House Museum & study center, nyack, nY.

solo exhibitions: Scripted: Carole P. Kunstadt, union Arts center, sparkill, nY; Spirited Lines, Gallery at Lifebridge sanctuary, rosendale, nY; Between The Lines, charter oak cultural center, Hartford, ct; Carole P. Kunstadt - Sacred Poems, the interchurch center, new York, nY; The Poetics of Collage, the edward Hopper House Museum & study center, nyack, nY.

select group exhibitions: ArtsWestchester’s inaugural Triennial, White Plains, nY; Fire In The Belly, burnette Gallery, Woodstock, nY; Books Undone: the art of altered books, Penn college, Williamsport, PA; WORD 2016, Hudson Valley MocA, Peekskill, nY; Slash: Paper Under the Knife, Museum of Arts & design, new York, nY; On a Different Page, nJcu, Jersey city, nJ; Boundless: altered

ABOut tHE ARtiSt

OVUM and PRESSING ON series evolved with the awareness of the persistent and dedicated life’s work and writings of Margaret Fuller in the 19th c. and Hannah More in the 18th c. examining each of these trailblazers, reveals not only the depth and density of deep seated issues, but also informs us of the progression within our culture, inspiring us to continue to raise one’s voice to inequality and injustice.

PRESSinG On: Homage to Hannah MorePages of Hannah More’s writings are cut, scorched, woven and layered with textiles, thread, lace, tacks and sandpaper. Antique “sad” (solid) irons convey the stories, evoking the tactile, experiential memory of a domestic labor force. sad irons represent the erstwhile servitude of those pressing and the ‘herstories’ of those laboring under the demands for pressed garments and linens, to suit class distinctions and societal expectations. Garments carefully and repetitively manipulated, aided by the parallel tasks of mending and sewing were ultimately transformed by the applied and consistent heat and pressure.

Hannah More (1745 – 1833) was an abolitionist, poet, social reformer, philanthropist, feminist, writer and a member of the intellectual group “bluestockings” along with samuel Johnson. she has been referred to as the “First Victorian,” bridging the 18th and 19th centuries. Her writings and benevolence strongly influenced the public mind and social character of her day. Strictures on the Modern System of Female Education, 1799, contained many pro-feminist overtones. More’s

life-long overriding cause was galvanizing women to act not as domestic ornaments, but as thinking, engaged and responsible beings. she devoted herself to educating and helping the poor, establishing over sixteen charitable schools.

OVuM: Homage to Margaret Fullersarah Margaret Fuller ossoli (1810 – 1850) was an educator, social reformer, transcendentalist, critic, abolitionist, the first American female foreign correspondent and woman’s rights advocate. One of her most significant works Woman in the Nineteenth Century is considered the first major feminist work in the United States, first published in 1845. Pages from an 1855 volume are incorporated.

An advocate for woman’s education and the right to employment, Fuller argued that “we would have every path laid open to Woman as freely as to Man.” she challenged existing ideas and explored the essence of gender in her writings of the 1840s, giving birth to the idea of empowerment of women, a “fullness of being” for both men and women and ultimately feminist ideals. it has become one of the major documents in American feminism.

OVuM/Breakthrough i have cut and recombined 19th c. naturalist bookplate illustrations of bird eggs. Adding silk thread as a linear and textural element contributes to the resulting abstracted patterning. eggs are a metaphor for gestation, abundance, promise and rebirth as well as for vulnerability and perseverance.

books in contemporary art, Hill-stead Museum, Farmington, ct; Materials: Hard & Soft, denton, tX; Abstract Evocative, Woodstock Artists Association & Museum, Woodstock, nY; As Subject and Object: Contemporary Book Artists Explore Sacred Hebrew Texts, the Museum of biblical Art, new York, nY; Somewhere Between Creation and Destruction, Joseloff Gallery, Hartford Art school, Hartford, ct; Between The Covers: Altered Books in Contemporary Art, the everhart Museum of natural History, science & Art, scranton, PA.

the Pbs/oFF book Book Arts mini-documentary features kunstadt in the segment, Transforming the Sacred. https://www.youtube.com/watch?v=ec4fLk-Xeei

collections - George J. Mitchell department of special collections & Archives, bowdoin college Library, brunswick, Me; the book Arts collection of the national Museum of Women in the Arts, Washington, dc; the Permanent collection of the center for book Arts, new York, nY; baylor book Arts collection, baylor university, Waco, texas; special collections Library, university of Washington, seattle, WA.

www.carolekunstadt.comPRESSING ON No. 49, No. 48, No. 51, 2018, antique sad irons, raccoon fur, scorched paper (pages by Hannah More 1791) 3.5 x 3.5 x 2.5 - 7 x 5.5 x 6 in

OVUM II, 2016, ostrich egg, twigs, paper (pages by Margaret Fuller) 5.75 x 10.5 x 8.5 in

PRESSING ON No. 66 No. 4 No. 64, 2017-2018, antique sad irons, linen thread, scorched lace, steel tacks, paper (pages by Hannah More) 4.5 x 2.75 x 4.25 - 6.25 x 3.75 x 3.25 in