Foster Prize Artist 2023-2024
What an honor it has been to be a part of the Foster Prize! Here is a link to the works with a thoughtful essay by Assistant Curator ICA/Boston Anni Pullagura
https://indd.adobe.com/view/bf9d6e50-3139-4892-9b5a-fa236523fe41
What an honor it has been to be a part of the Foster Prize! Here is a link to the works with a thoughtful essay by Assistant Curator ICA/Boston Anni Pullagura
https://indd.adobe.com/view/bf9d6e50-3139-4892-9b5a-fa236523fe41
Artwork acquired by Museum of Fine Arts- Boston
My work has been acquired by the MFA Boston. Thank you Michelle Millar Fisher for your work to highlight artists and care work.
Michelle writes:
Venetia Dale (@venetiadale)
Keep From Falling, 2021
Molded and cast pewter (collected orange peels,
Ritz crackers, snap peas, raisins, popcorn, and gum
from my children's eating)
6 x 6 x 5 1/4 in.
"I went to Venetia's home in Boston to do a studio
visit with her many months ago and really fell in love
with her delicate, smart work in metals and across
other media.
This work recuperates care labor that is often unpaid
and hidden and frames it as something worthy of
commemoration and public discourse. Here, Dale
molds and casts her children's discarded Ritz
crackers, orange peels, raisins, and other snacks
that have been dropped throughout their shared
domestic space. It is a way to preserve a moment in
time that would otherwise be fleeting and discarded
as waste, both literally and figuratively.
Casting pewter is laborious and can require many
molds in order to achieve a final cast. This labor is
invisible in the final work but without it, there's
nothing.
Venetia's work joins others in the MFA's collection
that deal with childhood, care work, and unseen
labor, including the work of Helen Redman (look it up
on the collection online: 2021.258-263), Madeline
Donahue (2021.341), and Aimee Gilmore
(2022.1314).
It also speaks to a longer art history of care work and
waste products that includes the seminal oeuvre of
artists like Mary Kelly (see: Postpartum Document,
1973) as well as more recent work by artists
including Ani Liu, Alison Croney Moses, and Deb
Willis that demand space for experiences of
mothering, caring, and the interstitial moments of
everyday domestic life to be taken as seriously as
they deserve given the central importance these
topics and issues holds to the way all of us arrive in
the world and to that ways in which many of our lives
are shaped and lived.
Finally, it joins the work of many artists whose topics
may not be care work
- but who are carers
alongside being serious, important artists. Cheers to
them all.
This work is part of the acquisitions related to the
multi-year project "Craft Schools: Where We Make
What We Inherit."
Welcome to @mfaboston Venetia."
My work has been acquired by the MFA Boston. Thank you Michelle Millar Fisher for your work to highlight artists and care work.
Michelle writes:
Venetia Dale (@venetiadale)
Keep From Falling, 2021
Molded and cast pewter (collected orange peels,
Ritz crackers, snap peas, raisins, popcorn, and gum
from my children's eating)
6 x 6 x 5 1/4 in.
"I went to Venetia's home in Boston to do a studio
visit with her many months ago and really fell in love
with her delicate, smart work in metals and across
other media.
This work recuperates care labor that is often unpaid
and hidden and frames it as something worthy of
commemoration and public discourse. Here, Dale
molds and casts her children's discarded Ritz
crackers, orange peels, raisins, and other snacks
that have been dropped throughout their shared
domestic space. It is a way to preserve a moment in
time that would otherwise be fleeting and discarded
as waste, both literally and figuratively.
Casting pewter is laborious and can require many
molds in order to achieve a final cast. This labor is
invisible in the final work but without it, there's
nothing.
Venetia's work joins others in the MFA's collection
that deal with childhood, care work, and unseen
labor, including the work of Helen Redman (look it up
on the collection online: 2021.258-263), Madeline
Donahue (2021.341), and Aimee Gilmore
(2022.1314).
It also speaks to a longer art history of care work and
waste products that includes the seminal oeuvre of
artists like Mary Kelly (see: Postpartum Document,
1973) as well as more recent work by artists
including Ani Liu, Alison Croney Moses, and Deb
Willis that demand space for experiences of
mothering, caring, and the interstitial moments of
everyday domestic life to be taken as seriously as
they deserve given the central importance these
topics and issues holds to the way all of us arrive in
the world and to that ways in which many of our lives
are shaped and lived.
Finally, it joins the work of many artists whose topics
may not be care work
- but who are carers
alongside being serious, important artists. Cheers to
them all.
This work is part of the acquisitions related to the
multi-year project "Craft Schools: Where We Make
What We Inherit."
Welcome to @mfaboston Venetia."
