Jane Gilmor is an intermedia artist and Professor of Art at Mount Mercy University in Cedar Rapids, Iowa. She has a BS from Iowa State University, an MAT and MFA from the University of Iowa and additional graduate work at The School of The Art Institute of Chicago. She has exhibited nationally and internationally for the past 35 years and has been awarded NEA Artist’s Fellowships, a McKnight Interdisciplinary Fellowship, and residency fellowships in Ireland, Italy, London, and at The McDowell Colony among others. In 2004 she was a Fulbright Senior Scholar in Portugal. In 2008 she co-curated Where are You From? Contemporary Portuguese Art, with Lesley Wright, Director of the Faulconer Gallery at Grinnell College. Her most recent solo exhibitions were at A.I.R. Gallery in New York, Long Island University in Brooklyn. In 2010 she completed a yearlong community-based project and major installation, Un(Seen) Work, funded by an NEA grant to Grinnell College in 2010.

Read a review of theI’ll Be Back For The Cat monograph in Cedar Rapids Magazine

She has also recently exhibited at Performa Gallery in Lisbon, Portugal, A.I.R. Gallery in New York, and the Bemis Center for Contemporary Art in Omaha. She is included numerous books including Barbara Love’s Feminists who Changed America 1963-1976, Lucy Lippard’s, OVERLAY, Contemporary Art and the Art of Prehistory; and Broude and Gerrard’s The Power of Feminist Art: The American Movement of the 1970’s, History and Impact, Abrams. Her work is in numerous collections including The Des Moines Art Center, The Los Angeles County Museum of Art library, The Bemis Foundation, and The Museum of Contemporary Art in Chicago. She is affiliated with A.I.R. Gallery in New York and Olson Larsen Galleries in Des Moines and has been included and reviewed in numerous journals including Cabinet, The New York Times, The New Art Examiner, and The Chicago Tribune.

Artist Statement

My latest work presents, walk-in books covered with etched metal notes, room-sized installations of wearable structures activated with robotics and embedded with writings on metal and video. Extending from previous work in my Containers for the Self series, these situations further explore those psychologically and culturally based entanglements of image, language and space through which we try to locate our own identity.

For the past thirty years, then, my practice has been concerned with social issues, found situations, and psychological narrative. From The 1976 All-American Glamour Kitty Pageant, to my 70’s and 80’s photo tableaux of cat-masked Isadora Duncans in the ruins of Greece and the bowling alleys and Laundromats of Iowa, to my twenty years of community-based public work in shelters and hospitals–my search is for some unspoken connection in these random collisions of objects, images, and voices.